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Media  History  Digital  Library 


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January  1924 


25    Cents 
A     Copxj 


Photographing  Four  Presidents— 

Fifth  Installment,  "Fade  Out  and  Slowly  Fade  In" 

By  Victor  Milner,  A.  S.  C. 


^The  Cost  of  Cinematographers— 

By  George  Schneiderman,  A.  S.  C 

Stampedes  and  Camera  Pits— 

By  Paul  P.  Perry,  A.  S.  C 

"Cashing  In"  On  Stereoscopic  Projection- 

By  Herbert  S.  Marshutz,  A.  B.,  Opt.  D 


PUBLISHED  IN     HOLLYWOOD     CALIFORNIA 


*ZS?2^?2<&Zt>&^^ 


W!lilllll!lil!!!Ullilill!!!IIIIUIIilillll!lllllll!l^ 


"<?Mdde  in  Hollywood— 
The   Standard   Way. " 

The  final  verdict  of  the  cinematographer's  art  comes  from  the 
public. 

And  the  public  judges  the  photography  by  the  Release  Prints. 

How  important  it  is  then  that  these  Release  Prints  be  made 
right  here  where  close  co-operation  with  camera  man  and  director 
is  possible. 

This  is  why  more  and  more  Release  Prints  are  being  "Made 
in  Hollvwood — the  Standard  Way." 


Sfancfard "film  J/aboKtlomes 

HI/0"*  //  Svwcrd and Romaino  Streets 

\jqq  Hollywood  California 


iSfaifdarcf  Triqtjs 


ii:iiii]i!!U!;ii!!!!:; ;i!i;iii.:;i:'i!i;iii;,:.;;:.!i;i;ani:siii ii;xiii;:;;;iiii 


Kiiii]ii;iii!ii:iiiiiiii!iiiiiiiii:iiiiiiiiiiiiiii!iiiii 
Vol.  IV 


,:!iiiEii!a!!i;:::;ai!i:i!ii 


JANUARY,  1924 


iniiiiiiiiiMiiiiiiiai 

No.  10   . 


American 
Cinematoqrapher 

The  Uoice  of  the  motion  Picture  Cameramen  of  America;  the  men  who  make  the  pictures 

FOSTER  GOSS,  Editor  and  Business  Manager 

Board   of   Editors— VICTOR    MILNER,   H.    LYMAN    BROENING,    KARL   BROWN,   PHILIP   H.  WHITMAN 

ALFRED   B.    HITCHINS,   Ph.   D.,    F.   R.    P.   S.,    F.    R.    M.   S.,    F.   C.  S.,  Associate   Editor 


Table  of  Contents 


The  Cost  of  Cinematographers — 

By  GEORGE  SCHNEIDERMAN,  A.  S.  C. 
Stampedes  and  Camera  Pits — 

By  PAUL  P.  PERRY,  A.  S.C.     . 

"Fade  Out  and  Slowly  Fade  In,"  Fifth  Installment — 
By  VICTOR  MILNER,  A.  S.  C. 

' ' ( 'ashing  In"  on  Stereoscopic  Pro  jection — 

By  HERBERT  MARSHUTZ,  A.  B.,  Opt.  D 

The  Editors'  Corner 

Eastman  Provides  for  Home  Cinema    . 

Problems  in  Motion  Picture  Laboratories,  Second  I) 
ment,  from  Transactions,  S.  M.  P.  E. 

Quoting  the  Critics,  Cinematograpliically     . 

A  New  Pair  of  Ciuemachines        .... 

CHARLES  RICHARDSON.  A.  S.  ('..  Passes  A  way 

Slight  to  Industry  Meets  Results 

In  Camerafomia    .         .         . 

Releases 

A.  S.C.  Roster 


it  all 


8 

!) 
10 
12 

13 
15 
16 
17 
24 
25 


1 


An   educational   and    instructive   publication,   espousing   progress  and    art   in   motion   picture   photography. 
Published  monthly  by  The  American  Society  of  Cinematographers,   Inc. 

Subscription  terms:      United  States,  $3.00  a  year;   Canada,  $3.50    a    year;    foreign,    $4.00   a   year;    single    copies,   25    cents. 
Advertising  rates  on   application. 

6372   Hollywood    Boulevard,   Los  Angeles,   California  Telephone,    Hollywood    44U4 

(Copyright,   1923,   by  The   American   Society    of    Cinematographers,    Inc.) 


a 


IHI!l!!illi!!i:EF 


limit 


Four 


AMERICAN     CINEM  ATOGRAPHER 


January,  1924 


CThe  Cost  of  . "         '    ,    mJ 

bij  Qeorqe  Schneiderman, 

Cinematographers  a.  s.  c. 


Why  properly  paid  cinema- 
tographer     is     inexpensive. 
^[Camera     aide      source. 


Much  has  been  said  the  past  several  weeks  about  cutting  the  cost  of  motion  picture  production.  Prom- 
inent film  officials  have  been  quoted  as  saying  that  salaries  must  come  down,  from  the  star  to  the  prop- 
erty boy. 

It  has  been  intimated  that  if  it  is  not  graceful  to  cut  existing  salaries  there  will  be  made  substitu- 
tions, wherever  possible,  of  workers  who  are  content  with  smaller  salaries. 

The  effect  of  the  rigid  execution  of  such  a  theory, 
if  it  is  ever  followed,  remains  to  be  seen.  Perhaps 
the  exercise  of  parts  of  the  theories  might  bring 
wanted  results. 

But  there  is  one  element  in  the  cost  of  production 
that  is  seldom  reckoned  with,  and  that  is  the  waste 
and  loss  of  time.  Few  of  the  executive  statements, 
which  were  published  in  a  spirit  of  alarm  by  most 
of  the  press,  took  this  important  factor  into  consid- 
eration. 

Has  the  average  executive  ever  stopped  to  com- 
pute how  many  dollars  is  lost  to  his  organization  be- 
cause salaries  and  rentals  were  running  on  and 
mounting  up  because  some  company  or  compauies 
working  under  his  banner  were  marking  time  when 
they  should  be  shooting?  The  loss  thus  occasioned 
includes  within  its  scope  the  salary  of  not  only 
one  high-priced  celebrity  but  that  of  all  the  workers 
in  the  company. 

What  one  factor  can  be  the  most  expensive  cause 
of  loss  of  time  and  production  waste? 

Those  who  understand  production  will  tell  you — 
the  inexperienced  or  ineffiicent  cinematographer. 

He  can  be  an  expense  thus  in  a  dozen  different 
ways.  He  can  call  for  the  wrong  lighting  equipment 
to  take  on  expensive  location  trips,  equipment  that, 
on  reaching  the  location,  must  be  sent  back  for 
others  or  else  the  scenes  shot  improperly.  Mean- 
while time  is  wasted. 

He  can  fail  to  take  advantage  of  delays  by  weather 
by  not  shooting  scenes  which  are  not  dependent  on 
the  weather — while  the  company  sits  around  wast- 
ing time  and  drawing  salaries  waiting  for  sunlight. 

He  can  cause  improper  lighting  equipment  to  be 
introduced  on  expensive  sets,  so  that  the  scenes  must 
be  retaken  or  else  imperfect,  allowed  to  pass. 

He  can,  last  but  not  least,  be  conducive  to  any 
number  of  delays  and  wasted  film  that  will  result 
without  end  as  the  result  of  incompetence. 

What  usually  is  the  reason  that  an  inferior 
cameraman  is  permitted  to  be  placed  in  a  position 
where  he  will  cause  production  expense  to  soar  with- 
out justification? 

Usually  because  his  salary  is  a  low  figure.  That's 
the  answer.  The  average  producer  knows  little  or 
nothing  of  the  qualifications  of  a  cinematographer 
unless  he  is  particularly  familiar  with  the  work  and 
the  working  methods  of  the  particular  cameraman 
that  he  may  hire.  Consequently,  when  he  wants  a 
cameraman  he  wants  only  a  cameraman,  that's  all, — 
just  as  if  they  all  fitted  a  single  pattern,  labeled 
"cameraman,"  without  regard  to  ability  or  qualifi- 
cation— he  is  apt  to  pick  the  man  who  names  the 


lowest  salary.  There  is  no  distinction  in  his  mind 
as  to  ability.  Turning  a  crank  is  turning  a  crank. 
If  he  gets  it  turned  for  half  the  price,  he  is  that 
much  ahead  on  the  picture. 

But  is  he?  Sometimes  he  wakes  up,  after  a  few 
thousand  dollars  have  been  wasted,  and  places  his 
finger  on  the  spot  where  the  trouble  lies.  Other 
times  he  continues  to  hire  inferior,  low-salaried  but 
expensive,  cameramen;  and  as  a  result  pays  for  in- 
creased production  cost.  The  entire  cost  of  an  effi- 
cient cinematographer  at  a  "good"  salary,  is  a  small 
item  in  comparison  to  other  costs,  considering  what 
he  has  to  do,  his  responsibility,  results  expected  and 
obtained. 

But  what  assurance  can  the  producer  have  of  get- 
ting an  able  man  if  he  knows  little  or  nothing  as  to 
cinematographic  qualification?  Probably  none,  if 
he  relies  on  his  own  choice  to  the  extent  of  picking 
a  man  because  the  salary  is  comparatively  low. 

The  writer  knows  of  one  reliable  general  source 
from  which  the  producer  may  safely  pick  his  cinema- 
tographer— that  is  the  American  Society  of  Cinema- 
tographers. Cinematography  is  no  longer  an  ex- 
periment. The  A.  S.  C.  has  long  since  recognized 
that.  Its  membership  is  not  open  to  men  who  are 
still  in  the  inexperienced  stages  of  cinematography, 
whether  they  have  been  at  the  camera  a  year  or  ten 
years.  Instead,  only  those  cinematographers  are  in- 
vited to  A.  S.  C.  membership  whose  work  has  con- 
sistently proved  their  ability.  Remember  the  men 
who  have  thus  accepted  the  invitations  which  have 
been  so  carefully  extended  and  who  have  become 
A.  S.  C.  members  are  men  whose  record,  not  their 
salary,  and  not  because  they  turned  a  crank,  estab- 
lishes their  merit. 

If  they  would  not  be  thorough  in  every  part  of 
cinematography,  if  they  would  not  be  able  to  meet 
every  cinematographic  demand  of  the  producer,  if 
they  were  not  above  causing  waste  and  loss  of  time, 
they  would  not  be  A.  S.  C.  members. 

That  is  the  producer's  assurance  in  calling  on  A. 
S.  C.  members. 

And  it  is  also  his  insurance  for  good  photography 
and  against  unnecessary  expense.  The  first  thing  a 
business  man  thinks  of  is  to  insure  his  investment, 
regardless  of  whether  it  is  stock  or  property.  He 
rests  better  when  he  knows  that  his  investments  are 
all  covered  by  insurance.  And  the  A.  S.  C.  member 
will  relieve  the  producer  of  cinematographic  worries. 

Finally,  the  fallacy  of  "cutting  expenses"  by 
hiring  an  inferior,  low-salaried  cameraman  is  very 
plain — it  is  just  another  way  of  creating  expenses 
(Continued  on  Page  22) 


January,  1924 


AMERICAN     CINEM ATOGRAPHER 


Five 


Stampedes  and 
Camera  Pits 


Farewell    buffalo    stampede   on 

•n     -n      i  r>  i-»  ac/^1  American  continent  described  by 

Bu  Paul  P.  Perru,  A.  b.  C  ... 

A.  S.  C.  member  operating  in  pit. 


Grouped    about  the   pit  are,   left   to   right:    Mr.   Smith,   park  superinten- 
dent;    Reeves    Eason.    director:    Jim.    the    park    warden;    Arthur    Mc- 
Lennon,    personal     representative    for    Thomas    Ince;    and    John    Ince, 
director.     Below,  in  the  pit,  is  Paul  P.  Perry,  A.  S.  C. 


Thirty  or  forty  years  ago  a 
farmer  in  Montana  had  704  head 
of  buffalo  which  was  too  large  a 
herd  for  the  range  he  had  so  he 
offered  to  sell  them  to  the  United 
States  government.  However,  it 
took  Congress  so  long  to  act  on 
his  proffer  that  he  made  a  similar 
offer  to  the  Canadian  government 
which  immediately  purchased 
these  monarch  of  the  plains. 

They  were  driven  to  the  pro- 
vince of  Alberta  where  the  Cana- 
dian government  established  a 
dominion  park  to  protect  these 
and  other  wild  animals  such  as 
deer,  moose,  antelope,  elk  and  yak 
which  were  imported  from  India. 
This  park,  located  a  few  miles 
from  the  town  of  Wainwright, 
was  named  "Buffalo  Park." 
704  Becomes  8000 

Flourishing   under   government 
protection,    the   original    herd    of 


704  buffalo  multiplied  until  there 
were  recently  more  than  8,000 
head  and  what  once  was  a  suffi- 
ciently large  park  was  a  few 
weeks  ago  unable  to  supply 
enough  range  for  so  great  a  num- 
ber of  beasts. 

Eliminate  Old  Bulls 

To  relieve  this  over-crowding  to 
some   degree,   the   Canadian   gov- 


Cinematographers,  crouch- 
ing in  pits,  as  hoofs  pound 
overhead  take  chances 
greater  than  those  of  abor- 
iginal Indians  who  rode  at 
flanks  of  buffalo  stampedes. 
Death  imminent  at  every 
turn  as  stampede  is  filmed. 


ernment  decided  some  time  ago  to 
kill  off  2,000  of  the  oldest  bulls. 

To  Record  Stampede 

Thomas  Ince,  being  acquainted 
with  these  conditions,  arranged 
with  the  Canadian  government, 
through  his  personal  representa- 
tive, Mr.  Arthur  McLennon,  to 
make  a  historical  record  of  the 
buffalo  as  it  appeared  once  in  its 
native  haunts,  how  the  vast  herds 
were  stampeded  by  the  Indians  in 
order  to  kill  off  enough  of  the 
animals  to  supply  them  with 
meat.  It  was  particularly  desir- 
able to  make  a  film  record  of  the 
stampede  such  as  it  actually  tran- 
spired in  the  primitive  days 
which  have  slipped  into  the  past. 
History  tells  us  that  nothing 
could  stem  the  tide  of  a  stampede 
once  it  had  been  set  into  motion. 

In  order  to  properly  film  the 


Six 


AMERICAN     CINEMATOGRAPHER 


January,  1924 


**M^*C*#« 


Birdseye  view  of  buffalo   before  stampede  aot  under  way.     There  were  several   thousand   in   herd. 


stampede  which  would  accom- 
pany the  killing  off  of  the  old 
hulls,  Mr.  Inee  sent  to  Wain- 
wright  a  company  consisting-  of 
two  directors,  Mr.  Reeves  Eason 
and  Mr.  John  Ince ;  players  in- 
cluding Mack  Wright,  Robert 
Rose  and  Al  Richmond;  and  six 
cinematographers,  Paul  Eagler, 
Al  Gosden,  Abe  Scholtz,  Harry 
Mason,  William  Menke  and  the 
writer.  William  J.  Oliver  joined 
our  party  at  Calgary.  Last  but 
not  least  in  our  expedition  was 
"Nick,"  (the  cinematographers' 
friend)  who  supervised  the  build- 
ing of  the  camera  pits  and  plat- 
form. In  his  hands  to  no  small 
extent,  were  our  lives. 

Pits  and  Platform 
The  platform  and  the  pits  were 
used  as  a  haven  from  which  to 
Him  the  stampeding  buffalo  and 
were  built  directly  in  the  path  of 
the  stampede  so  that  we  could  get 
a  faithful  record  of  the  on-rush- 
ing beasts.  The  platform  was 
about  20  feet  high  and  was  sur- 
rounded by  a  stockade  of  four- 
inch  posts  which  would  keep  the 
buffalo  from  striking  the  plat- 
form and  shaking  the  cameras 
which  were  mounted  thereon. 
These  cameras  were  operated  by 
Paul  Eagler  and  Al  Gosden. 

Cameras  in  Pits 

About  50  feet  in  front  of  the 


platform  a  camera  pit,  about  five 
feet  square  and  six  feet  deep,  was 
dug.  In  this  pit  I  had  my  camera 
planted  to  shoot  close-up  action 
of  Mack  Wright  and  Bob  Rose 
tripping  their  horses  and  falling 
near  another  pit  while  they  fired 
at  the  buffalo.  This  second  pit 
was  for  protection  in  case  the 
buffalo  came  too  close  and  there 
was  danger  of  the  actors  being 
trampled  upon.  Rut  the  courage 
of  the  two  actors  must  be  ac- 
knowledged as  thev  did  not  avail 


Paul    Perry,    A.    S.    C,    casts    his 
weather  eye  from   the   pit. 


themselves  of  the  pit  even  though 
the  frightened  animals  came  with- 
in six  feet  of  them  on  all  sides  as 
the  production,  "The  Last  Fron- 
l  iev,"  will  show. 

Sharpshooters 

In  front  of  the  second  pit  was 
constructed  a  third  in  which  were 
stationed  Bill'  Oliver  with  his 
camera,  and  two  sharpshooters 
who  killed  the  old  bulls  as  Mack 
Wright  shot  at  them.  Eight  were 
killed  in  the  scene  in  this  way. 

There  was  another  pit  on  the 
side  that  was  occupied  by  Abe 
Scholtz  and  two  sharpshooters. 
Harry  Mason  was  stationed  on  a 
hill  to  get  a  panorama  of  the  en- 
tire stampede. 

Triangle    Fence 

Anyone  who  has  not  seen  a 
stampede  of  5,000  buffalo  can 
scarcely  appreciate  the  thrill  of 
shooting  such  a  scene.  We  had  a 
mile  and  a  half  of  15  foot  wire 
feme  stretched  on  either  side  of 
the  cameras.  The  opening  be- 
tween the  two  sides  of  the  fence 
was  about  a  mile  across  at  the 
far  end  but  as  the  fence  ended 
near  the  cameras  it  tapered  down 
to  an  outlet  of  about  75  yards. 
Herd  Bunched 

This  triangular  arrangement 
compelled  the  buffalo  to  "hunch 
up"  as  they  rushed  toward  the 
cameras  and,  as  they  reached  the 
apex    of   the    triangle,    they    were 


January,  1924 


AMERICAN     CINEMATOGRAPHER 


Seven 


I3S^ 


Action  shot  showing   beasts  driving   into  triangular  fence   where  they   stampeded. 


crowded  into  a  careening-  pack  so 
that  they  were  forced  to  go  di- 
rect ]y  over  the  top  of  the  camera 
pits. 

The  Beginning 

As  the  stampede  was  set  into 
action,  the  horizon  became  a  long 
line  of  moving  mass.  Gradually 
the  line  narrowed  and  grew  high- 
er as  the  buffalo  came  nearer  and 
Mere  forced  closer  together  by  the 
triangular  fence.  Then  the  heavy 
mass  grew  distinguishable — one 
could  make  out  the  horns  and  the 
heads  of  the  beasts  as  they  stum- 
bled forward. 

Roar  Arises 

At  the  same  time  a  dim  roar 
became  audible.  It  increased  to  a 
wild  din  as  the  herd  charged  to- 
ward us.  At  last  the  leaders  of 
the  herd  were  upon  us.  We  ex- 
pected them  to  dash,  unabated, 
across  the  tops  of  our  pits. 

Leaders  Fear  Lenses 

But  we  were  surprised.  They 
halted  momentarily  as  they,  de- 
spite the  surge  behind  them,  per- 
ceived the  mysterious  camera  lens 
and  became  conscious  of  the 
steady  circular  movement  of  the 
turning  of  the  camera  crank. 
Then,  directed  by  a  sudden  deci- 
sion within  their  thick  skulls, 
they  turned  to  the  side  and  utter- 
ly avoided  the  fearful  looking 
camera  eves. 


The  animals  which  immediately 
followed  the  leaders  likewise 
changed  their  course  but  as  the 
rush  became  heavier  the  force 
frmn  behind  prevented  the  bulk  of 
the  herd  from  side-stepping.  By 
the  time  the  middle  of  the  pack 
had  been  reached,  the  buffalo,  so 
closely  were  they  crowded,  did 
not  even  see  the  lenses.  They 
jammed  forward,  unconscious  of 
the  fad  that  machines  were  turn- 
ing on  them  and  making  a  record 
of  their  charging  heads  and 
crunching  hoofs. 


A    camera    hog    is   the    buffalo   as    it 
halts,    awed,    before    lenses. 


Zero  Hour' 

For  us  in  the  pits  there  was  an 
anxious  moment  when  the  hoofs 
of  the  first  buffalo  struck  above 
our  heads.  Would  the  oil  drum 
which  covered  the  pit  hold  up? 
Or  would  it  give  way  under  the 
ponderous  monsters?  Would 
some  of  the  beasts  crash  into  the 
cavity,  pen  us  beneath  them  and 
themselves  be  crushed  and  torn 
asunder  under  sharp  hoofs  as  the 
rest  of  the  herd  stumbled  on- 
ward? 

Into  Celluloid 

lint  once  the  zero  hour  was 
passed,  we  losl  all  thought  of  our 
fate  and,  becoming  accustomed  to 
the  thunder  overhead,  concentrat- 
ed on  putting  into  celluloid  what 
we  saw  through  the  12-inch  slits 
in  our  pits— just  enough  to  allow 
the  cameras  and  ourselves  to  look 
out.  Sometimes  we  caught  a  clat- 
ter of  hoofs  which  dashed  within 
a  hair  of  the  pit  opening.  At 
other  times  it  was  a  pair  of  en- 
raged red  eyes,  or  snorting  nos- 
trils. At  still  other  moments  the 
dust  fleetingly  threw  up  a  natural 
veil  between  us  and  the  mob  while 
particles  of  earth  were  flung  into 
our  eyes.  At  last  the  tail-enders 
straggled  by.  The  rush  was  over 
and  we  were  able  to  crawl  out  of 
the  pits  and  relieve  ourselves  of 
the  dust  which  so  generously  cov- 
ered us. 


Eight 


AMERICAN     C  INEM ATOGR APHER 


January,  1924 


1  i 


Fade     Out     and     SIoujIij     Fade     In" 


Photographic   habits   of  four 

Presidents  of  the  United  States      ^  Vicior  Milrter  A.S.  C. 

recounted  by,  A.  S.  C.  member 


Pioneer  neiusreel  men  cover- 
ed wide  territory.  Four  men 
handled  Tl.  A.-Fifth  installment 


On  finishing  "Hiawatha,"  the  "wanderlust"  took 
hold  of  me  very  forcibly.  Somehow  a  ride  in  the 
subway  did  not  seem  to  till  the  bill.  I  began  to  look 
around  for  a  position  wherein  a  young  man,  who  de- 
sired to  travel  but  who  lacked  the  financial  means 
necessary  for  the  realization  of  his  air  castles,  could 
make  himself  useful. 

About  this  time,  the  Pathe  Weekly  was  being- 
organized  bjT  Mr.  Franconi,  the  first  editor  of  the 
now  famous  news  film.  I  learned  of  the  budding  en- 
terprise and  accordingly  called  on  Mr.  Franconi  at 
his  headquarters  at  No.  1,  Congress  Street,  Jersey 
City.  He  allowed  himself  to  be  convinced  of  my 
ability  as  a  cameraman  as  well  as  my  readiness  to 
recognize  news  value,  and  placed  me  on  his  staff  at 
a  salary  of  $35  per  week  phis  expenses. 

First  Pathe  News  Staff 

The  staff  then  consisted  of  the  editor,  Messrs. 
Hutchinson,  Struckman  and  Richard  and  the  writer. 
At  the  same  time  the  Pathe  dramatic  staff  consisted 
of  Joseph  Dubray  and  William  Marshall,  now  A.  S. 
C.  members,  Arthur  Martinelli  and  Alfredo  Gan- 
dolfi. 

Covered  U.  S.  and  Canada 

The  four  of  us  in  the  news  department  were  kept 
busy  jumping  from  place  to  place  over  the  United 
States  and  Canada.  It  was  nothing  unusual  to  re- 
ceive a  wire  from  Congress  street  while  I  was  cover- 
ing, for  instance,  a  flood  in  Galveston,  Texas,  to  hop 
to  Montreal,  Canada  to  shoot  the  winter  sports  on 
Mt.  Royal.  Now,  however,  it  is  somewhat  different 
with  the  news  weekly  men.  The  various  news  reel 
organizations — have  the  field  so  well  patroled  with 
representatives  that  a  man  covers  his  particular 
territory  in  a  tertian  part  of  the  country  and  is 
seldom  called  upon  to  make  a  trip  of  more  than  a 
couple  hundred  miles — which  means  the  elimination 
of  the  fascinating  journeys  of  yesteryear. 

Personal  Baggage  Light 

Our  outfis  consisted  of  the  famous  Pathe  profes- 
sional model  including  six  magazines;  two,  three 
and  six  inch  lenses;  and  a  trunk  especially  designed 
for  transporting  the  outfit  having  one  compartment 
for  an  extra  pair  of  sox  and  an  extra  collar. 

"Movie  Minute  Men" 

I  enjoyed  the  work  immensely,  particularly  the 
element  of  uncertainty  of  being  ready  to  go  at  a 
moment's  notice.  It  was  only  a  matter  of  time  be- 
fore ^Messrs.  Hutchinson,  Struckman,  Richard  and  1 
held  a  consultation  and  decided  to  be  systematic  in 
our  expense  accounts.  You  can  readily  understand 
that  if  I  sent  in  a  bill  for  $30  for  the  use  of  an  auto- 
mobile for  a  day  and  if  Mr.  Hutchinson,  working 
under  similar  conditions,  turned  in  a  bill  for  $45, 
things  might  appear  not  so  efficient.  However,  the 
company  was  very  liberal  and  insisted  that  we  stop 


at  the  best  hotels,  seldom  objecting  to  any  item  on 
our  "swindle  sheets." 

"Nose  for  News" 
It  was  not  long  before  Mr.  Franconi,  except  in  the 
instance  of  assignments  for  some  fixed  event,  de- 
veloped enough  confidence  in  my  "nose  for  news"  to 
allow  me  to  exercise  my  own  judgment  in  speeding 
to  cover  happenings  which  I  thought  held  outstand- 
ing news  value.  Whenever  I  embarked  thus  on  my 
own  initiative  I  always  sent  a  wire  to  Mr.  Franconi 
detailing  my  move  and  informing  him  the  next  spot 
where  he  could  communicate  with  me.  The  news 
men  were  not  so  numerous  then  that  the  editor  had 
to  keep  trace  of  their  moves  with  colored  pins  on  a 
map. 

Presidential  "Photographic  Habits" 
It  was  in  the  regular  course  of  duty  that  I  "shot" 
Roosevelt,  Taft  and  Wilson,  and  learned  their  "pho- 
tographic habits."  One  of  my  numerous  assign- 
ments while  working  out  of  Congress  street  was  to 
cover  the  1012  Democratic  campaign  of  Woodrow 
Wilson.  I  began  this  assignment  when  Mr.  Wilson 
was  to  speak  at  Buffalo,  New  York  on  Labor  Day.  I 
joined  the  Wilson  party  at  the  Grand  Central  Sta- 
tion and  was  duly  introduced  to  Mr.  Wilsou  who 
then  was  very  interested  in  the  news  value  of  the 
Pathe  weekly  and  promised  to  help  me  obtain  good 
shots  at  Buffalo. 

Wilson  Shot  from  Own  Platform 
The  arrival  at  Buffalo  evidently  exceeded  the  ex- 
pectations of  the  Wilson  managers  who  doubtless 
did  not  anticipate  the  overflowing  crowd  that  was 
on  hand  to  greet  the  future  President  of  the  United 
States.  In  the  excitement  that  followed  I  was  left 
high  and  dry,  and  was  unable  to  get  near  enough  to 
Mr.  Wilson's  car  to  obtain  effective  shots.  Later, 
however,  I  filmed  him  while  he  was  addressing  a 
gathering  of  citizens  at  some  picnic  ground.  There 
weren't  very  many  people  present  so  that  I  was  able 
to  record  some  excellent  views  of  Mr.  "Wilson.  I  set 
up  on  the  platform  from  which  he  spoke  and  made 
close-ups  as  I  pleased. 

Wilson  Interested  in  Results 
On  the  way  back  to  New  York  City,  Mr.  Wilson 
came  over  to  my  seat  in  the  Pullman  and  expressed 
his  sorrow  over  the  fact  that  I  wasn't  taken  better 
care  of  at  the  depot  the  previous  day  and  hoped  that 
I  obtained  good  pictures. 

At  the  end  of  Mr.  Wilson's  first  term  in  office  I 
found  that  it  was  by  no  means  a  simple  matter  to 
get  shots  of  him,  due  to  the  viligance  of  the  secret 
service;  men.  Mr.  Wilson  also  began  to  complain 
that  the  cinema  made  him  appear  to  walk  faster 
than  he  really  did.  I  had  to  resort  to  many  tricks 
to  work  myself  into  his  immediate  vicinity.  One 
method  was  to  conceal  an  air-operated  camera  in  the 
(Continued  on  Page  18) 


January,  1924 


AMERICAN     CINEMATOGRAPHER 


Nine 


"Cashing  In11  On  Stereoscopic  Projection 


Fascinating  subject  discuss- 
ed by  prominent  optometrist 


Herberts.  TtlarsKutz,  A,  B.,  Opt.  D. 

Chairman,  Department  Public     Information, 
California  State  Association    of    Optometrists. 


Stereoscopic  pictures  from 
uieiupoint  of  the  optometrist 


Mot  ion  picture  technicians  in  all  departments  of  their  extensive  profession  and  optical  scientists 
hare  at  least  one  problem   in  common, — the  practical  development  of  stereoscopic  motion  pictures. 

Science  is  not  standing  still  in  its  search  for  this  improvement.  The  full  possibilities  of  the  stere- 
oscopic projection  of  moving  images  arc  only  realized  by  those  who  hare  viewed  such  an  exhibition.  Off- 
hand, the  motion  picture  or  optical  engineer  would  look  with  favor  upon  this  new  phase  of  the  industry; 
he  would  see  the  benefit  of  photography  with  a  much  wider  field  of  view  and  with  a  true  impression  of 
depth  on  the  screen. 


But  the  commercial  possibilities  of  this  develop- 
ment in  projection  are  rarely  thought  of — the  box 
office  angle  of  thrilling  thousands  with  something 
they  have  never  looked  upon  before,  images  moving 
about  ostensibly  in  the  air  between  their  eyes  and 
the  screen. 

We  see  with  our  brains,  optometrists  have  proven, 
and  any  violation  of  the  life-time  habits  of  vision 
impresses  us  greatly.  Stereoscopic  pictures  with  mo- 
tion are  very  much  a  stranger  to  our  mental  habits 
of  vision  and  such  new  optical  illusion  cannot  be 
explained  by  our  mental  eyes  as  the  images  are  re- 
ceived. 

Hitting  the  Cash  Register 

There  is  a  New  York  showman  who  is  amazing  his 
audiences  with  stereoscopic  pictures.  He  employs  a 
screen  covering  the  full  extent  of  the  proscenium 
arch.  There  appears  the  shadow  picture  of  a  girl, 
the  edges  showing  red  and  green  until  the  on-looker 
places  before  the  eyes  a  pair  of  cardboard  spectacles 
with  one  red  and  one  green  celluloid  "lens."  The 
red  and  green  of  the  moving  image  is  of  course 
immediately  blended  and  the  shadow  picture  seen 
stereoscopically. 

The  illusion  is  that  of  seeing  the  girl  on  the  screen 
move  out  over  the  audience.  As  the  pictures  are  in- 
creased in  size  (due  to  the  subjects  coming  closer 
to  the  source  of  light  behind  the  screen)  the  shadows 
stand  out  over  the  heads  of  the  audience  like  giant 
ghost  faces,  until  the  auditorium  seems  piled  with 
huge  women  dancing,  running,  leaping  into  the  air 
over  the  heads  of  the  amazed  onlookers. 

A  shadow  man  throws  a  shadow-ball — it  bounces 
out  into  the  audience,  each  person  seeing  it  come 
directly  touxird  him. 

The  optics  of  the  device,  as  described  by  C.  H. 
Claudy,  an  optometrical  writer,  are  these — two  pro- 
jection machines  throwing  red  and  green  light  on  a 
screen ;  persons  acting  and  dancing  between  the 
screen  and  source  of  illumination;  audience  fur- 
nished with  bi-colored  spectacles. 

Explanation  Is  Simple 

The  amazing  effect  must  be  explained  by  physi- 
ologic optics,  or  visual  psychology,  if  you  prefer. 
Because  our  "mind's  eye"  has  learned  to  associate 
increase  of  size  of  an  object  with  decreasing  distance 
and  vice-versa,  when  the  shadow  on  the  screen  be- 
comes solid — assuming  the  third  dimension — it  ap- 


pears to  advance  or  recede  from  the  plane  of  the 
image  as  it  «jets  larger  or  smaller. 

As  it  cannot  advance  (as  it  becomes  larger)  to 
any  position  except  in  front  of  the  screen,  the  visual 
effect  is  that  of  seeing  in  space.  Should  one  toss  a 
bulky  object  toward  the  screen  from  behind,  the  on- 
looker will  see  it  approach  him  directly,  and  through 
years  of  intuitive  self-protection  will  unconsciously 
dodge  the  "on-coming"  missile. 

This  is  the  only  successful  commercial  use  of  the 
phenomenon  of  stereoscopic  projection  of  moving 
images  on  ■  a  screen  that  has  come  to  the  writer's 
attention,  although  many  experiments  and  mechan- 
ical contrivances  are  known.  Just  what  the  future 
will  bring  is  worthy  of  contemplation.  There  seems 
to  be  great  possibilities  in  the  development  of 
"solid"  photography.  How  far  the  ultimate  adop- 
tion of  such  form  of  motion  pictures  will  alter 
present  day  technique  is  interesting  speculation. 


The    Editor, 

American    Cinematographer. 

I  thought  you  might  be  interested  to  know 
that  I  have  sold  my  second  camera  through 
the  ad  I  carried  in  the  American  Cinema- 
tographer. When  I  bought  my  new  Mitchell 
recently  I  advertised  my  old  outfit,  and  in 
less  than  ten  days  I  had  received  replies,  in- 
cluding telegrams,  from  as  far  away  as 
Maine  and  as  near  at  home  as  San  Francisco. 

May  the  good  work  continue. 

Very  truly  yours, 

(Signed)    GEORGES   BENOIT. 


Ten  AMERICAN     CINEMATOGRAPHER  January,  1924 

■IIIIIIIIII1IIIIIUIIIIII1IIIIIM 


Cl  LlClEclitOrS      C^OrnCT  —conducted  bu  Foster  Qoss 


Since  its  inception,  the  American  CinematogTapher  has  advocated  the 
cause  of  visual  education — education,  wherever  adaptable,  by  means  of  mo- 
tion pictures.  It  has  pointed  out  the  advantages  that  will  accrue  to  the  nation 
at  large  if  the  school  systems  throughout  the  country  will  give  befitting  atten- 
tion to  the  cinema  in  the  curriculum. 

At  the  same  time  this  publication  has  plainly  seen  and  called  attention 
to  the  advantages  that  will  greet  motion  picture  manufacturers  and  film 
workers  once  films  become  an  integral  part  of  the  education  of  every  child. 
As  wide  as  the  use  of  the  cinema  is  at  the  present  day,  it  by  no  means  has 
reached  the  zenith  of  popularization — which  pictures  in  all  schools  and  homes 
will  bring.  It  should  be  self-evident  therefore  that  greater  use  will  mean 
more  film  to  be  manufactured,  more  machines  to  take  care  of  that  film,  and 
consequently  more  work  for  the  men  who  make  the  machines  and  the  film, 
as  well  as  more  work  for  those  who  actually  make  the  pictures.  That,  in  a 
general  way,  is  looking  at  the  commercial — the  technical,  the  scientific — side 
of  the  question  for  it  is  in  such  phases  that  in  a  vocational  way,  readers  of 
the  American  Cinematographer  would   be  largely  interested. 

The  practical  side  of  the  subject,  the  side  that  would  be  of  untold  value 
to  every  child  that  is  enrolled  in  a  school,  finds  an  able  champion  in  the  Los 
Angeles  Illustrated  Daily  News  through  Cornelius  Vanderbilt,  Jr.,  its  pub- 
lisher, and  L.  B.  Fowler,  its  motion  picture  editor.  It  is  entirely  consistent 
that  this  daily  should  espouse  the  cause  of  education  by  pictures,  inasmuch 
as  it  is  fundamentally  a  publication  of  pictures.  The  fact  that  this  newspaper, 
since  its  founding  in  September,  1923,  has  attained  a  circulation  that  not  only 
equals  but  exceeds  those  of  the  publications  that  have  been  in  the  community 
for  years  argues  well  in  itself  for  the  popularity  and  effectiveness  of  visual  edu- 
cation in  places  of  learning.  One  of  Mr.  Fowler's  typical  articles  on  the  sub- 
ject that  appeared  in  his  department  recently  presents  interesting  highlights 
from  the  public,  the  general  angle  of  the  question,  and  is  worthy  of  repeti- 
tion here: 

"This  world  has  made  great  progress  as  far  as  labor-saving,  time-con- 
serving devices  are  concerned.  Slow  at  first,  the  steam  train  has  grown  into 
a  monster  traveling  at  a  rate  of  over  sixty  miles  an  hour.  The  airplane  sails 
through  the  air  much  faster. 

"At  first  we  talked  short  distances  with  wires.  Those  distances  increased. 
Now  we  can  talk  without  wires — through  space.  Truly  this  is  a  great  age 
we  live  in. 

"Funny  part  of  it  all  in  that  we  have  rapidly  advanced  in  one  way, 
neglecting  another.  We  have  taken  advantage  of  inventions  and  put  them 
usefully  to  work.  We  have  more  time  and  energy  to  spend  on  pleasure. 
That's  as  it  should  be. 


lllllllllllU!!IIli!!IIIIIIl!!!!ll!l!lll!l!IIII[ll!lllll!l[l[ IllilllllllllllllllllllllllllllllllllllllllUllllllllllil 


January,  1924  AMERICAN     CINEMATOGRAPHER  Eleven 

*snii!;;i!!i::Li:;:!:i!:;;n;'!ti!inN:;ii;;iii!i!-.;:i;i;;'::  ■■ ■,i!:,1!i:i!i,ii[i:r :n^;  L:::::";j;nii:'::^j;:.i:'. .:;; :  :ii!iii!iiiiJi:fiii;[:[:i:ii!!:::!  i[::  :;uitiii!-:;::i::ii!:!: ■  ■  ■:  :;u!:,:,:: ':  ■|:ij::  v :::i;;i.:::i::;. ii!:i ;:;.!;;;::  i...'!!!!:!'' ::;::!:::. :  "iii!ii;'::iiii m  ;  ;;i:': '"::! ii'imn!;:  - : .  / ;;;;:::  iiinciii1:  ::;m: i!.ii!ii.ii,i;;iii-^ 


"BUT  WHAT  ABOUT  EDUCATION?  Have  we  given  the  most  impor- 
tant thing  of  life  the  thought  it  should  have?  Can  we  consider  the  methods 
of  learning  today  up  to  date  Are  we  utilizing  the  inventions  given  us  for? 
educational  purposes?  Do  we  not  owe  it  to  our  children  and  our  children's 
children  to  make  this  the  best  and  brightest  world  possible? 

"You  read  that  a  child  is  beaten  to  save  its  soul.  Unbelievable,  you'll 
say.  How  could  anyone  be  so  foolish,  etc.?  Thousands  of  people  are  foolish 
because  they  don't  know  any  better.     They  haven't  been  taught. 

"Nab  Two  in  Bank  Holdup,"  reads  a  glaring  headline.  Would  that  head- 
line  have   appeared  if  those  bandits  as   boys  had  been   taught   respectability 

that  it  PAYS  to  be  square? 

"That's  absurd,  you'll  probably  think.  They  had  an  opportunity  to  learn, 
to  live  decent  but  didn't  take  advantage  of  it.  That  is  true.  Maybe  they 
did.  But  you  can  bet  your  bottom  dollar  that  the  difference  between  wrong 
and  right  didn't  stick  with  them  because   IT  WASN'T   IMPRESSED   on   them. 

"What  you  see  with  the  eye  STAYS.  It  is  registered  on  your  brain. 
You  THINK  about  it.  That's  most  important.  Printed  matter  does  not  stick 
because  we  see  it  too  often  and  in  too  many  shapes,  forms  and  sizes. 

"One    thing    that    makes    this    publication    popular    is    the    fact    that    it    is. 

ILLUSTRATED    DAILY    NEWS news    in    pictures.       Motion    pictures    became 

popular  because  a  novel  could  be  consumed  in  LESS  than  an   hour. 

"Children  will  find  learning  a  pleasure  when  subjects  are  taught  by  cine- 
matic methods.  They  will  WANT  to  learn.  Studying  will  be  made  less  diffi- 
cult for  them  and  they  will  KNOW  MORE  in  less  time. 

"Instead  of  getting  out  of  college  in  the  middle  twenties,  girls  and  boys 
will  be  ready  to  combat  life's  problems  at  eighteen  and  twenty.  Theories  will 
become  facts  for  them.      They  will  be  better  prepared. 

"If  subjects  were  taught  by  motion  pictures,  accompanied  by  textbooks 
with  printed  illustrations  of  the  high  points  of  the  lessons  of  the  film  printed 
alongside  of  the  text  explaining,  children  would  be  graduating  from  high 
school  at  eleven  and  twelve  and  KNOW  MORE  than  we  did  at  eighteen  or 
twenty. 

"A  young  medical  student  explains  to  this  writer  that  there  are  many 
difficult  operations  performed  which  cannot  be  plainly  understood  in  books. 
He  suggests  that  if  close-ups  of  such  operations  were  photographed,  using  the 
slow   motion   process,   it  would  be  easy   to  understand. 

"The  young  man  mentioned  is  working  his  way  through  college.  H<» 
hasn't  much  time  for  studying.  THINK  what  teaching  by  motion  pictures 
means  to  him.     There  are  THOUSANDS  in  his  circumstances. 

It  is  to  be  hoped  that  more  newspapers  which  actually  serve  the  general 
public  will  follow  the  example  of  the  Illustrated  Daily  News  and  its  motion 
picture  editor,  not  the  least  of  whose  abilities  is  his  foresight. 

Millions  of  children  looking  at  motion  pictures  every  school  day  will 
mean  better  trained  children,  and,  in  the  due  course  of  time,  a  more  highly 
educated  nation. 

And  the  blessings  of  the  nation  will  redound  manifold  to  the  motion  pic- 
ture industry  in  particular — a  prosperous  industry  will  then  enter  into  true 
prosperity,  prosperity  that  results  not  only  from  that  which  entertains  but 
from  a  medium  that  TRAINS. 


-     '  -  ' '. i.;ii!!iii!ii iiiiiiiiiiiiiiii;!!,;;!!:-! ih^::,,!!-..;:!:!::;;. "  :: M-Jiri  ■■ -    .        uiiiiiiiiii iiiiiinig 


Twelve 


AMERICAN     CINEM  ATOGR  APHER 


January,  1924 


Eastman     Provides      For      Home     Cinema 


Practical    inventions    bring 
films  to  the  family  fireside 


Circulating  library  of  many 
subjects    is  being    planned 


Left:  The  Cine- Kodak,  new  motion 
picture  camera  for  amateur  and 
special    use. 

Top:  Illustrating  operation  of 
Cine-  Kodak. 

Right:  The  Kodascope,  or  home 
projector. 


Just  as  the  kodak,  35  years  ago,  made  photo- 
graphy possible  for  the  amateur,  the  Cine-Kodak, 
Cine  Kodak  Film  and  Kodascope,  announced  this 
this  month  by  the  Eastman  Kodak  company,  bring 
motion  pictures  within  reach  of  the  novice.  It  is  a 
triple  triumph:  camera,  film  and  projector  —  each 
contributes  to  the  attainment  of  good  motion  pic- 
tures easily  produced  at  low  cost. 

The  task  of  developing  a  camera,  a  projector  and 
a  film  which  in  amateur  hands,  would  satisfy  the 
highest  photographic  standards  yet  be  easy  to  use 
and  inexpensive  to  enjoy  called  for  something  basic- 
ally new — not  a  mere  miniature  professional  ap- 
paratus. A  relatively  low-priced  outfit  was  consid- 
ered less  essential  than  was  low  operatiug  cost. 
Speed  Is  Standard 

The  most  important  economy  in  operating  ex- 
pense, the  first  requisite  for  general  enjoyment,  is 
effected  by  a  smaller,  new  kind  of  film.  Cine-Kodak 
film  is  5/8  of  an  inch  wide  instead  of  1  3/8  inches, 
professional  width;  each  image  is  about  1/(5  stand- 
ard size  in  area.  A  100-foot  roll  of  Cine-Kodak 
film  lasts  as  long  in  the  camera  or  on  the  screen  as 
25(1  feet  of  the  standard,  although  both  are  exposed 
and  projected  at  the  regular  speed  of  16  images  per 
second. 

Special  Emulsion  Compound 

To  make  a  narrow  film  practicable,  however,  it 
was  first  necessary  to  compound  a  special  emulsion. 
free  from  the  objectionable  graininess  heretofore 
found  when  tiny  images  were  projected  to  large 
size.     This  is  accomplished  with  splendid  succcess 


in  Cine-Kodak  film. 

Expense  Is  Minimized 

But  Cine-Kodak  film  is  a  new  departure  in  kind 
as  well  as  in  size,  with  the  result  that  expensive 
steps  between  the  fun  of  taking  the  picture  and  the 
fan  of  seeing  it  on  the  screen  are  cut  out.  Instead 
of  developing  the  film  into  a  negative,  then  printing 
a  positive  from  it,  the  procedure  is  markedly 
abridged.  Cine-Kodak  film  is  developed,  then  re- 
versed, so  that  the  very  reel  that  went  through  the 
camera  goes  through  the  Kodascope,  too.  The  price 
of  the  film  includes  the  Eastman  Kodak  company 
laboratory  charge  for  converting  it,  ready  for  the 
evening's  entertainment.  Copy  prints,  as  good  as 
the  original,  can  be  made  when  desired. 

The  consequence  of  using  this  narrow,  two  pur- 
pose film  is  that  the  cost  of  the  finished  reel  is  about 
one-sixth  of  what  it  otherwise  would  be.  That  is 
really  the  key  achievement  in  making  motion  picture 
photography  an  amateur  pastime. 

The  Cine-Kodak  camera  is  such  a  thorough,  prac- 
tical instrument  that  it  wins  instant  admiration 
among  critical  professional  operators.  And  ama- 
teurs who  know  nothing  of  photography  use  it  with 
success  from  the  first. 

Simplicity  Striven  For 

In  addition  to  essential  features  that  insure  ex- 
cellent     photographic      quality,      the     Cine-Kodak 
embodies  certain  refinements  intended  to  safeguard 
the     forgetful     operator     against     disappointment. 
(Continued  on  Page  22) 


January,  1924 


AMERICAN     CINEMATOGRAPHER 


Thirteen 


Problems  in  Motion 

¥^.  T     f  .  By  M.   Briefer 

Picture  Laboratories 


Second  Installment.  From 
Transactions,  Society    of 
Motion  Picture  Engineers. 


Not  all  have  yet  learned  to 
keep  the  developing,  fixing  and  other  solutions  at 
something  like  relatively  uniform  temperatures  and 
that  additions  should  be  made  with  previously  pre- 
pared stock  solutions  and  not  with  dry  salts  which 
may  have  strong  positive  or  negative  heat  reactions. 
However,  since  we  cannot  hope  to  effect  this  reform 
let  us  insist  at  least  upon  the  liberal  use  of  good 
thermometers. 

There  is  a  lot  of  fiction  indulged  in  as  to  the  value 
of  dopes,  special  mixtures,  secret  formulae  and  the 
like  for  controlling  grain,  contrast  and  gradation. 
How  may  we  bud  an  effective,  a  convincing  way  of 
demonstrating  the  futility,  the  uselessness,  the  wast- 
age of  such  procedures? 

Changes  in  processing  formulae  should  be  made 
with  some  regard  to  proportionality.  The  formulae 
recommended  by  the  manufacturers  of  photographic 
material  should  be  studied  and  the  relative  propor- 
tions maintained.  This  preachment  has  been  deliv- 
ered regularly  since  the  dawn  of  practical  photog- 
raphy and  according  to  the  rate  of  its  acceptance  is 
still  good  to  adorn  the  pages  of  our  periodicals  for 
some  ages  to  come. 

Humidity 

Humidity  and  temperature  have  important  func- 
tions in  processing  laboratories.  The  subject  seems 
rather  vaguely  understood  by  the  average  man,  if 
indeed  any  attention  is  paid  to  it  at  all.  Altogether 
it  appears  as  if  shrouded  in  a  veil  of  mystery.  There 
is  really  nothing  mysterious  about  it. 

Relative  humidity  means  nothing  more  than  the 
per  cent  water  vapor  contained  in  air.  The  term 
is  defined  as  the  ratio  of  moisture  present  in  air,  to 
the  amount  it  will  hold  when  saturated  at  the  same 
temperature.  Thus  if  a  cubic  meter  of  air  at  a  tem- 
perature of  SOF.  is  saturated  with  moisture  it  will 
contain  approximately  25.5  grams  water  vapor.  The 
relative  humidity  will  therefore  be  100%.  Should 
the  same  volume  of  air  at  the  same  temperature 
contain  only  12.75  grams  of  water  vapor  the  relative 
humidity  will  be  50%. 

Absolute  humidity  is  defined  as  being  the  measure 
of  the  actual  weight  of  water  vapor  present  in  air 
and  is  usually  expressed  in  grains  per  cubic  foot. 
There  are  tables  which  serve  to  show  that  the  num- 
ber of  degrees  difference  between  wet  and  dry  bulb 
is  the  factor  for  calculating  the  relative  humidity 
at  the  prevailing  temperature.  Reference  to  these 
tables  gives  the  relative  humidity  direct  for  any  com- 
bination of  wet  and  dry  bulb  readings. 

Assuming  a  requirement  of  05%  relative  humidity 
for  good  working  conditions  we  find  from  the  tables 
that  this  per  cent  moisture  is  realized  in  many  com- 
binations of  wet  and  dry  bulb  readings,  in  fact,  at 
all  temperatures.  Most  workers  are  possessed  witli 
the  idea  that  as  long  as  the  required  per  cent  mois- 
ture is  present  in  the  atmosphere  nothing  else  mat- 
ters.    Yet  it  matters  very  much  indeed. 


A  dry  bulb  at  72  (let  us  understand  the  figures 
in  degrees  F.)  and  a  wet  bulb  at  04  indicate  a  rela- 
tive humidity  of  05%.  The  same  relative  humility 
is  indicated  when  the  dry  bulb  registers  82  and  the 
wet  bulb  73.  But  there  is  considerable  difference  in 
performance  as  between  the  two  conditions.  The 
difference  is  in  the  position  of  the  dew  point  or  the 
points  at  which  moisture  begins  to  condense  and 
deposit  as  dew  on  all  objects  contained  in  the  room. 
The  difference  in  performance  is  of  course  not  limit- 
ed to  the  two  examples.  There  is  a  proportionate 
difference  between  any  two  sets  of  conditions.  The 
question  arises,  how  shall  we  determine  the  most 
favorable  working  conditions.  We  wish  to  make 
this  explanation  as  clear  as  possible.  If  it  appears 
elementary  to  those  present,  please  remember  that 
it  is  still  one  of  the  perplexing  and  troublesome  fac- 
tors in  some  film  and  paper  sensitizing  plants  where 
such  matters  are  supposed  to  be  understood. 

The  Hygrometer 

The  best  known  type  of  wet  and  dry  bulb  hygro- 
meter consists  of  a  wood  block  upon  which  is  mount- 
ed side  by  side  two  ordinary  indicating  thermometer 
tubes.  The  bulb  of  one  thermometer  is  covered  with 
a  tubular  wick  thoroughly  wetted  with  water.  The 
other  end  of  the  wick  is  immersed  in  a  reservoir 
which  keeps  the  wicking  saturated  by  capillary. 
Constant  evaporation  necessitates  frequent  refilling 
of  the  reservoir. 

It  is  well  known  that  evaporation  is  accompanied 
by  the  loss  of  heat  and  the  more  rapid  the  evapora- 
tion the  greater  the  heat  loss.  The  dry  bulb  of  this 
instrument  indicates  normal  temperatures  without 
regard  to  the  humidity  present.  When  the  air  is 
saturated  no  more  water  can  be  taken  up  by  it,  that 
is,  no  evaporation  can  take  place  at  the  wet  bulb, 
therefore  there  is  no  heat  loss  registered.  If  both 
thermometers  indicated  the  same  temperatures  be- 
fore the  wet  wick  was  attached  to  one  of  them,  they 
will  read  alike  under  the  conditions  named.  If  the 
air  is  now  heated  its  capacity  for  taking  up  mois- 
ture is  increased,  it  is  then  no  longer  saturated  and 
evaporation  at  the  wet  bulb  takes  place  at  once. 
The  reading  of  the  wet  bulb  will  fall  below  that  of 
the  dry  bulb  thus  demonstrating  the  heat  loss  due 
to  evaporation.  The  dryer  the  air,  the  greater  will 
be  the  difference  between  wet  and  dry  bulk  readings. 

Referring  to  the  example  first  given,  when  the  dry 
bulb  is  at  80  degrees  and  the  air  has  an  absolute 
humidity  of  25.5  grams  water  vapor  per  cubic  meter 
(saturation  for  that  temperature)  then  the  wet 
bulb  will  also  indicate  80  degrees.  On  the  other 
hand,  if  at  the  same  temperature  the  absolute  hu- 
midity is  only  12.75  grams  per  cubic  meter  the  wet 
bulb  will  indicate  07  degrees.  This  difference 
degrees  between  wet  and  dry  bulbs  is  the  measure 
of  the  rate  of  evaporation  for  these  readings  and  the 
factor  for  computing  the  relative  humidity  which, 
(Continued  on  Page  22) 


Fourteen  AMERICAN     CINEMATOGRAPHER  January,  1924 


The  producer's  care  is  justified;  the  audience 
is  pleased — when  the  print  is  on 


EASTMAN 
POSITIVE  FILM 


— because  it  carries  quality  through  to  the 
screen. 

Look  for  "Eastman"  and  "Kodak" — sten- 
ciled in  black  letters  in  the  transparent 
margin. 


Eastman  Film,  both  regular  and 
tinted  base,  is  available  in  thou- 
sand foot  lengths. 


EASTMAN   KODAK   COMPANY 

ROCHESTER,   N.   Y. 


January.  1924 


AMERICAN     CINEMATOGR  A.P  HER 


Fifteen 


Quoting  the  Critics,  Cinematoqraphicalhj< 


on  "Cameo  Kirbuj"  photographed 
brj  QeorqeSchrteidermart,  A.S. C. 


on  "The  Uirginian"  photographed 
bvj  Harrij    Perrig,     J\..    S.    C. 


The  following  criticisms  on  the  cinematography  of  "Cameo  Kirby"  the  For  special  feature  production 
photographed  by  George  Schneiderman,  A.  8.  ('.,  and  "The  Virginian,"  the  B.  I'.  Schulberg-Tom  Forman 
^production  photographed  by  Harry  Perry.  A.  8.  C  speak  for  themselves: 


"But,  oh,  the  photography !  That  is  worth  going 
a  long  way  to  see.  There  are  places  where  it  is  not 
only  beautiful,  but  is  stereoscopic,  giving  an  effect 
of  depth.  That  cameraman,  George  Schneiderman, 
is  surely  a  wiz.  The  shots  are  beautiful." — GRACE 
KINGSLEY,  LOS  ANGELES  TIMES. 


"The  photography  and  directing  of  'Cameo  Kirby' 
are  remarkable,  even  in  this  day  of  wonderful  cine- 
gnatographical    technique."  —  LOS    ANGELES 

RECORD. 

*       *       * 

" — and  George  Schneiderman  did  the  beautiful 
and  extraordinary  camera  work."  —  JAMES  N. 
GRUEN,  LOS  ANGELES   EXAMINER. 


"Special  mention  is  due  the  camera  work  of 
George  Schneiderman.  Many  of  the  photographic 
shots  were  like  fascinating  etchings.  *  *  *  The 
most  appealing  feature  of  the  entire  picturization 
is  The  clear  atmospheric  detail  of  scene  direction  of 
The  shots  done  on  The  banks  of  the  river  where 
steamboats    chug    into    port."  —  LOS    ANGELES 

HERALD. 

*       •       * 

"Beautiful  photography  is  one  of  the  big  assets. 
There  are  any  number  of  attractive  shots,  and  the 
settings,  both  the  exteriors  and  the  Colonial  man- 
sions, are  pleasing  in  the  extreme.''  —  MOVING 
PICTURE  WORLD. 


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PATHE   CAMERA 

I    Six    Magazines,    One     L.    A.    Motion    Picture    Tripod — I 

All    for   $200 

ANDRE    BARLATIER 


American    Society    of    Cinematographers 


« 


BASS 


CHICAGO 


Buys,    Sells,    Exchanges    Cameras,    Printers,    Lenses 

Complete  Stocks 

Cash   for   Bell   &   Howell   and    De   Brie  equipment 

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"A  man  named  Harry  Perry  is  the  real  star  of 
'The  Virginian.'  He's  the  man  who  turned  the 
camera  crank.  He  has  used  God's  great  painted 
mountains  and  rolling  plains  and  cloud-swept  skies 
to  make  backgrounds  that  ai'e  once  or  twice  breath- 
taking in  their  beauty."  —  TED  TAYLOR,  LOS 

ANGELES  RECORD. 

*  *       * 

"In  Forman's  version  there  are  two  outstanding 
features.  First  and  foremost  is  the  photography 
and  backgrounds."  —  L.  B.  FOWLER,  LOS  AN- 
GELES ILLUSTRATED   DAILY   NEWS. 

*  *       * 

"The  grandeur  of  the  settings,  revealing  the  pic- 
turesque western  plains,  are  portraits  that  will  cling 
to  the  memory  for  a   long  time."  —  GUY  PRICE, 

LOS  ANGELES  HERALD. 

*  *       * 

"The  photographv  is  unusually  excellent." — 

PEARL  RALL.  LOS  ANGELES  EXPRESS. 

*   #   * 

" — and  the  locations,  both  in  their  actual  scenic 
charm  and  in  the  deft  manner  of  their  photography, 
are  so  beautiful  and  unusual  as  to  deserve  special 
mention."— FLORENCE  LAWRENCE,  LOS  AN- 
GELES  EXAMINER. 

*  *       * 

"Excellent  production,  gorgeous  locations,  beauti- 
fully   photographed  *-*  *  photography,   excellent". 

FILM  DAILY. 

*  *       * 

"Artistic  values — there  were  some  wonderful  ex- 
terior shots  and  atmosphere  backgrounds  through- 
out was  splendid.  *  *  *  The  atmospheric  values 
were  splendid.  Generally  the  photography  was  very 
good,  and  there  was  one  bit,  where  Mr.  Harlan  and 
Miss  Vidor  were  sitting  in  front  of  a  waterfall,  that 
was  exceptionally  beautiful."— WID'S  WEEKLY. 
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ROY  DAVIDGE  &  CO.  | 

FILM  LABORATORIES 

(Former'y  Harold  Bell  Wright  Laboratories) 
NOW  LOCATED  AT 

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REALART  STUDIO  | 

PHONE  DREXEL  6622 


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Sixteen 


AMERICAN     CINEMATOGRAPHER 


January,  1924 


New  Pair  of 
Cinemachines 

The  Bell  &  Howell  Company  have  placed  on  the 
market  a  new  automatic  motion  picture  camera,  and 
its  companion  projector,  hoth  so  small  that  they  are 
easily  portable  anywhere;  the  camera  only  weighing 
41/2  pounds,  and  the  projector  9  pounds.  The  size 
of  the  camera  is  3x6x8  inches;  and  the  projector 
can  be  quickly  placed  in  a  case  Sxllxll  inches. 

There  are  many  new  mechanical  features  in  these 
two  machines.  The  camera  is  automatic  in  action, 
requiring  only  the  touch  of  a  button  to  either  start 
taking  motion  pictures  or  a  single  exposure.  The 
projector  runs  either  forward  or  backward,  or  stops 
for  a  single  picture  without  danger  of  warping  the 
film.  This  is  possible  because  of  forced  air  draft, 
which  positively  cools  the  lamp  house,  rheostat,  film 
and  film  aperture. 

400  Feet  Equals  1000 

The  film  is  the  new  standardized  safety  10  m/m; 
400  feet  being  equal  to  and  takes  the  same  projec- 
tion time  as  1000  feet  of  standard  film.  Economy 
and  portability  will  undoubtedly  make  this  little 
camera  very  popular,  and  it  is  not  hard  to  visualize 
the  possibility  of  tourist  or  traveller  carrying  one, 
as,  at  a  cost  of  less  than  1/Gth  of  a  cent  for  each  pic- 
ture he  may  perpetuate  everything  he  has  seen, 
either  in  motion  pictures  or  stills.  Negatives  can  be 
purchased  at  any  photographic  supply  dealer  in  100 
foot  rolls,  equivalent  to  250  feet  of  standard,  the 
price  per  roll  including  developing  to  positive  — 
ready  for  projection. 

Individual  Libraries  Possible 

An  interesting  feature  is  the  utilization  of  present 
standard  negatives,  which  may  be  reduced  to  the 
new  l(i  m  111  standard  at  a  very  nominal  cost.  Al- 
ready large  libraries  are  being  reduced  and  others 
are  in  process  of  formation.  Rentals  will  be  com- 
paratively lower  than  present  exchange  prices.  Ex- 
ceptionally fine  optical  prints  are  being  produced 
from  good  negatives,  because  of  the  reduction  of 
grain  inherent  in  the  originals,  and,  when  prints  are 
projected  with  a  flickerless  9  to  1  movement,  a  pic- 
ture of  unsurpassed  brilliancy  and  steadiness  is 
obtained.  Screen  stars  and  cinematographers  may 
easily,  at  a  nominal  cost,  maintain  individual 
libraries  adding  subjects  as  often  as  they  are  made, 
or  may  include  reversal  subjects  made  with  the  auto- 
matic Cine-Camera. 


Hilllllllllllilllllllllillllllllllllllllllllllllllllllllllllllllllllllllllllillllllllllii; 


■■■III 

FOR  SALE 


a 


I    Pathe  No.    1110,   completely  equipped  with   six   maga-    g 
zines,     tripod,     tilt    head,     mats    and    vignettes     of    J 
every    description.       Guaranteed    in    perfect    shape. 
40,   50  and   85  mm.   lenses.      Bargain. 


Bell  and  Howell  creations   give  atten- 
tion to    professional  and  amateur  alike. 

Built  with  precision  of  best  equipment. 


Si 


JAMES  C.  VAN  TREES 
American  Society   of  Cinematographers 

lllllllllllllllllllilllllllllllllllllllllllllllllllllllllllim 


Projection  Flickerless 

The  projector  with  its  !)  to  1  movement,  in  combi- 
nation with  a  high  speed  synchronous  shutter,  abso- 
lutely eliminates  all  flicker.  Heretofore  it  has  been 
considered  an  Impossibility  to  satisfactorily  produce 
such  a  movement,  and  from  the  results  it  is  very 
evident  that  the  ultimate  of  perfection  in  motion 
picture  projection  has  at  least  been  reached.  There 
are  many  other  mechanical  features  of  interest  in 
this  little  projector.  The  threading  is  extremely 
simple,  and  the  wear  on  the  film  has  been  reduced 
to  practically  nothing.  One  piece  of  test  film  was 
run  through  the  machine  .°>0(I0  times  without  show- 
ing any  noticeable  wear.  Universal  mounts  for  ob- 
jective lenses  are  provided,  ranging  from  1 1/2  to  4 
inches.  Pictures  up  to  0x7  feet  are  very  satisfac- 
torily projected  with  remarkable  depth  and  bril- 
liancy. Condensers  are  of  piano  type;  mirror  re- 
Hector;  self  centering  lamp  mounting;  200-watt,  50- 
volt  lamp;  2  ounce  air  cooled  rheostat;  auto  fire 
shutter;  reversing  and  stop  feature;  and  clutch-in 
are  among  some  of  the  distinctive  features. 
Easily  Carried 

The  camera  is  as  easily  carried  as  a  post  card  size 
folding  still  camera,  as  it  is  furnished  with  a  strap 
to  go  over  the  shoulder.  Anyone  can  handle  it  very 
much  as  a  binocular.  Using  no  tripod,  any  moving 
object,  no  matter  how  quick,  or  in  what  direction  it 
is  moving,  can  be  followed.  The  lens  is  a  Cooke  25 
m/m  ( Taylor-Hobson )  F  3.5  anastigmat  with  ad- 
justable Iris  Diaphragm.  The  shutter  opening  is 
21 G  degrees,  which  is  greater  than  most  standard 
cameras. 

(Continued   on   Page  21) 


January,  1924 


Charles  Richardson,  A.  S.  C. 

Passes  away  at  Palm  Springs 


AMERICAN     CINEMATOGRAPHER  Seventeen 

MIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII 

The  ISlew 

J  CINE  KODAK  | 

and 

1  KODASCOPE  | 

The  most  wonderful  production 
of  the  Eastman  Kodak  Co.  in  years. 

Now  on  exhibition  at  our  store. 
Orders  for  delivery  booked  in  rota- 
tion as  received. 


Charles  R;chardson,  A.  S.  C, 

Christnlas  holidays  of  A.  S.  C.  members  were  sad- 
dened by  the  death  of  Charles  Richardson,  A.  S.  C, 
who  passed  away  at  Palm  Springs,  Calif.,  on  Decem- 
ber 20th  following  a  long  illness  of  pneumonia. 

While  it  was  known  that  Mr.  Richardson  had  been 
ill  for  some  time,  his  end  came  unexpectedly  as  it 
was  believed  everywhere  that  he  was  well  on  the 
road  to  recovery.  In  fact,  he  was  sent  by  his  physi- 
cian to  the  California  desert  resort  in  order  that  he 
might  convalesce  more  rapidly.  In  his  last  letter 
to  the  American  Society  of  Cinematographers  in 
which  he  enclosed  his  dues  for  the  first  quarter  of 
1924,  he  wrote  in  the  best  of  spirits,  stating  that  he 
expected  to  remain  in  Palm  Springs  a  month  or  two 
until  he  had  completely  regained  his  strength. 

Funeral  services  were  held  in  the  chapel  of  Stro- 
ther  and  Dayton,  Hollywood,  and  interment  was  in 
the  Hollywood  Cemetery.  Arthur  Edeson,  Joseph 
lirotherton,  Gaetano  Gaudio,  Homer  Scott  and  Vic- 
tor Milner,  all  A.  S.  C.  members,  and  Richard  Holo- 
han  were  pallbearers. 

Though  he  was  a  first  cinematographer  for  a  com- 
paratively short  time  following  his  connection  of  six 
years  with  Arthur  Edeson,  A.  S.  C,  on  second 
camera,  Richardson's  work  plainly  distinguished 
him  as  one  of  the  aces  of  the  profession.  Among  the 
productions  for  which  he  was  chief  cinematographer 
after  he  left  Edeson 's  staff,  were  "The  Imposter" 
with  Miss  Dupont,  "The  Spider  and  the  Rose,"  "Cor- 
delia, the  Magnificent"  and  "In  Old  Madrid,"  Gar- 
son  productions  starring  Clara  Kimball  Young,  and 
"The  Havoc,"  a  Garson  all-star  production. 

Mr.  Richardson  was  associated  with  Arthur  Ede- 
son, A.  S.  C,  on  all  the  Douglas  Fairbanks  produc- 
tions filmed  by  Edeson  to  and  including  "Robin 
Hood."  Through  their  years  of  association  together, 
Mr.  Richardson  and  Mr.  Edeson  became  close 
friends.  Mr.  Edeson  is  greatly  bereaved  over  the 
loss  of  his  friend  and  co-worker. 


Come  in  and  see  it. 


<*, 


t^x 


EASTMAN  KODAK  COMPANY 

510  S.  Broadway,  Los  Angeles 

Telephone  870-746 


545  Market  Street 


San  Francisco    g 


IIIFMK 


The  New  Photographic  Store 
B.  B.  NICHOLS,  Inc. 

Eastman  Kodaks  and 

Photographic  Supplies 

617  SOUTH  OLIVE  STREET       :  LOS  ANGELES 

Phono  Broadway   2531 


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Cinema  Studios  Supply   Corp. 

1438  Beechwood   Drive 

Holly  C819 

LIGHTING    EQUIPMENT    FOR    RENT 

L.    A.    FIRE    DEPARTMENT 
WIND    MACHINES  Water    Engine 

rrnniiiiNiiiMi^iiiiiJiniiiiiMfiiiiiiii^i.n.iiiiiJiiiiiiniiiKii^^iMiiiiiiii.LLiiiiiiuiiMiiJiHniiJ.iiu::!,!;.. ..:;-:'! : :!::  I:::n! .:.. : ... ':' ;,:'  -  '-:.:;:![:i^i:; 

illllli!lll!IIIIU!ll!ll!illlllll!lllllillll!llll!ll!i!lllll^ 


IfALTEH  J.  VAN  ROSSEM 


6049  Hollywood  Blvd. 
Phone  Holly  725 

COMMERCIAL  PH0TOGIv\PHYj 

Still  Developing  and  PrmlinoT 
fcHo^Guneras—FOR.  RENT—  Still  u; 


„,,,,, 


Eighteen 


AMERICAN     CINEMATOGRAPHER 


January,  1924 


B«fcH     MOTORIZED     CAMERAS 

BELL      &      HOWELL      CAMERAS      ALWAYS       ANTICIPATE       THE       DEMAND 

The  leading  producers  were 
quick  to  recognize  the  possibil- 
ities of  greater  achievements  by 
giving  the  camera  man  a  chance 
to  display  his  artistic  ability 
rather  than  his  cleverness  in 
properly  timing  his  cranking 
arm. 


-4.fi   emblem    of 

advancement 

in  cinemachint  iy 


THE  B.  .(-  H.  C1NEM0T0B  takes  the  guess  work  out  the 

desired  film  speed  and  alloics  full  concentration  on  more 
important  matters.  Vibration  and  'rank  movement  is 
i  liminated. 

BELL  8C  HOWELL  COMPANY 

1805  Larchmont  Avenue 

CHICAGO 

Bulletin  of  either  camera  sent  on  request. 

;i,1ii!i[i:ii;ui!::UL!iiii.;-::,:;r ;;:cin!j ;; ....,iiiiJi;ii;.,.,;,i:ii!i;!;- :■ :  ■  ::i:;::i::' .;,!ii!K : iiii'1:- ::::::::■ 


HOLLYWOOD 


NEW    YORK 


I've   (jot  the  drop  on  you 


THE  B.  A  H.  CINE  AUTOMATIC  camera 
needs  no  tripod  and  no  action  is  tco  quick  to 
follow.  What  you  see  you  get,  just  by  the 
touch  of  a  button.  Spring  motor.  Loads  in  day- 
light. Capacity  100  ft.  16  m/m  film,  equivalent 
to  250  ft.  of  standard  or  40C0  separate  pictures, 
any  part  of  which  can  be  in  motion.  Films 
purchasable  at  any  supply  house  for  $6.00,  in- 
cluding developing  ready  for  projection  on  the 
new  9  to  1  movement  Bell  &  Howell  Cine-Pro- 
jector.  Both  machines  receive  the  same  me- 
chanical attention  and  the  same  quality  of 
optical  installation  as  the  highest  priced  B.  &  H. 
equipment. 

IIIIIIIIIIIIIIIMilll 


,n 


"Fade  Out  and  Slowly  Fade  In" 

(Continued  from  Page  8) 

shell  of  an  8  by  10  Graflex.  Why  the  secret  service 
men  tolerated  still  cameras  and  frowned  on  cinema 
cameras  was  probably  for  the  same  reason  that  the 
military  in  Ireland  are  said  to  regard  certain  types 
of  modern  cameras  ;is  machine  guns. 

Wilson  has  been  termed  a  poser  by  some  writers, 
but,  judging  from  my  experience  with  him  as  a  pho- 
tographic subject,  I  don't  believe  that  I  can  endorse 
such  a  statement  unqualifiedly.  Wilson  had  a  cer- 
lain  reserve,  that  may  or  mayn't  have  resulted  from 
aloofness,  self-affected  or  otherwise,  which  is  con- 
sidered as  typical  of  the  professional  school  teacher 
or  school  head.  I  will  say,  however,  that  Wilson 
never  became  so  engrossed  with  his  speech  as  to  be 
oblivious  to  the  camera,  as  I  invariably  felt  that  he 
was  watching  me  out  of  the  "corner  of  his  eye"  while 
J  operated  the  camera.  One  thing  seemed  certain  in 
liis  first  campaign,  and  that  was  that  he  was  not 
entirely  inappreciative  of  publicity  values.  He  did 
not  affect  the  attitude  that  he  "didn't  give  a  whoop'' 
whether  photographers  got  pictures  of  him  or  not 
instead,  as  indicated  on  the  return  trip  from  Buf- 
falo, lie  was  solicitous  as  to  the  success  of  the  taking 
of  pictures  of  him.  Whether  he  regarded  publicity 
.as  a  accessary  evil  or  not,  it  was  plain  that  he  com- 


prehended that  it  was  essential  to  the  success  of  his 
party  and  hence  to  himself,  or  vice  versa ;  and  in 
this  respect  he  might  he  likened  to  film  players,  pub- 
licity to  whom,  as  most  every  one  understands,  is  a 
part  of  their  stock  in  trade. 

Roosevelt 

The  paths  of  Theodore  Roosevelt  and  the  writer 
crossed  many  times.  I  loved  to  photograph 
"Teddy."  He  certainly  was  a  regular  fellow,  al- 
though, unlike  Mr.  Wilson,  he  at  times  was  inclined 
to  berate  the  news  man  when  down  in  his  heart  he 
was  tickled  l hat  his  picture  was  being  taken. 

Close-up  of  "Teddy's"  Teeth 

Shots  of  Mr.  Roosevelt  were  never  complete  unless 
they  included  a  close-up  showing  his  teeth,  made 
famous  when  he  was  police  commissioner  in  New 
York  City.  I  remember  on  one  assignment  I  was  to 
cover  Mr.  Roosevelt's  unveiling  a  monument  of 
"Goethe"  in  Chicago.  Mr.  Roosevelt  left  the  La  Salle 
hotel,  drove  up  Michigan  boulevard  while  my  camera 
was  set  up  in  the  tonneau  of  a  touring  car  which 
preceded  his  machine.  The  unveiling  took  place  as 
scheduled  hut  I  made  one  fatal  mistake.  After  reg- 
istering a  long  shot  of  him  speaking,  I  picked  up 
the  camera,  changed  focus  to  a  large  close-up  and 
planted  the  box  within  three  feet  i n  front  of  him. 


January,  1924 


AMERICAN     CINEMATOGRAPHER 

Il!IIIIIIIIII!!l!lllllll!!llll!!!l[IB 


Nineteen 

'iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiBiiiiiiiiiuiiiiiiiaM 


TELEPHONE  432-667 


For 


EFFICIENCY, 

SERVICE   and 

QUALITY  in 


LABORATORY  WORK 


Chester  Bennett  Film  Laboratories,  Inc. 


6363  Santa  Monica  Blvd. 
Hollywood,  California 


railiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiPiiiiiiiiiiiiiiiiiiiiiiii :;;;,;::::!  ;;u;;;:iHiuinii:jiii!!iiiii!ii[[!i[iiiiiiiiJii!i{!!ii]!i:;iii!iiiiiiniiiii]iiiiiiiii[tiii!iiit]iiiH:iitiiiinisi]Hiiiutn] 

The  blood  rose  to  his  face,  and  the  conviction  grew 
on  me  that  he  was  not  a  bit  enthused  over  a  crank 
grinding  so  immediately  in  his  proximity. 

Requested  Print 

When  he  finished  the  speech,  Mr.  Roosevelt  gave 
me  to  understand  that  I  should  be  arrested  for  my 
audacity,  that  he  had  never  been  so  humiliated  by 
having  a  camera  thrust  into  his  face,  and  that 
"movie  operators"  ought  to  be  "Hogged  in  the  public 
square."  Then,  characteristically  Rooseveltian,  he 
wound  up  his  denunciation  by  requesting  me  to  be 
lure  to  have  a  print  of  the  picture,  that  I  had  just 
made,  sent  to  him. 

Meet  Again  in  Arizona 

Another  time  J  encountered  him  and  Kermit  rest- 
ing in  the  shade  of  a  cave  at  a  remote  spot  of  the 
Hopi  Indian  reservation  in  Arizona  at  the  time  I 
filmed  the  Hopi  snake  dance  I  walked  into  the  cave 
and  without  flourish  said  "hello"  to  him. 

He  liberated  an  exclamatory  remark,  commented 
on  the  migratory  proclivities  of  the  news  men,  and 
concluded  by  informing  me  that  I  had  taken  pic- 
tures of  him  in  Newport,  R.  I.  less  than  a  week  ago. 
So  I  had. 

Fed  Up  on  "Picture  Stuff" 

I  broached  the  subject  as  to  how  atmospheric  it 
would  be  for  me  to  take  some  shots  of  him  in  his 
Western  garb.  He  took  a  decidedly  opposite  view, 
however,  and  addressing  both  Kermit  and  me,  de- 
clared that  he  was  getting  enough  of  the  "picture 


■Mill 


IK 


stuff,'*  that  it  was  nothing  but  a  bother.  Shortly 
thereafter  I  left  the  cave,  and,  as  I  began  to  pick  up 
my  camera  equipment  which  lay  a  few  yards  away 
1  saw  that  Teddy  also  had  come  out  of  the  cavern 
and  was  standing  still,  surveying  the  scenery.  I 
immediately  set  up,  and  made  50  to  60  feet  of  him. 
Judging  from  his  previous  remarks  inside  the  cave 
about  not  wanting  to  be  photographed,  he  didn't 
see  me  making  pictures  of  him  although  I  can't  ex- 
plain how  he  missed  detecting  me  shooting  point- 
blank  at  him.  At  any  rate,  I  got  the  picture  I 
wanted. 

An  interesting  sidelight  on  the  Roosevelt  charac- 
teristics was  that  he  went  out  of  his  way  later,  dur- 
ing his  same  visit  to  the  Hopi  reservation,  to  gain 
permission  for  me,  after  all  my  attempts  had  virtu- 
ally failed,  to  film  the  Hopi  snake-dance,  which 
never  before  had  been  photographed  as  the  writer 
stated  in  a  previous  article  in  the  American  Cinema- 
tographer.  It  was  for  just  such  reasons  that  all  the 
news  men  loved  to  film  Roosevelt. 

Taft  Was  Congenial  Subject 

William  Howard  Taft  was  a  blessing  to  the  har- 
ried news  man  as  well  as  to  the  newspaperman.  He 
was  jovial,  never  out  of  humor  and  always  ready  to 
do  anything  we  requested  of  him  in  the  way  of  lend- 
ing assistance  in  any  views  that  we  shot  of  him.  He 
was  not  inclined  to  the  spectacular  as  was  his  pre- 
decessor in  the  White  House  nor  was  he  marked  by 
the  reserve  which  was  common  to  his  successor  to 
the  Chief  Magistracy. 

(Continued  on  Page  20) 


Twenty 


AMERICAN     C INEM ATOGR APHER 


January,  1924 


Always  Agreeable 

He  caused  very  few  gray  hairs  to  enter  the  crops 
of  photographers,  thanks  to  his  always  being  agree- 
able. While  his  corpulence  was  always  an  object  of 
caricature  and  to  this  day  is  held  apparently  to  be  a 
matter  of  news  interest,  he  displayed  no  vanity  in 
requesting  us  to  photograph  him  so  that  he  would 
appear  to  best  advantage.  He  left  the  picturing  of 
himself  in  our  hands,  and  never  sought  to  take  it 
into  his  own.  He  seemed  to  take  it  for  granted  that 
we  knew  our  business. 

Coolidge 

Much  is  said  these  days  of  the  "recalictrance" 
and  (he  "silence"  of  Calvin  Ooolidg!e*s  make-up. 
"Photographically"  the  writer  did  not  find  him  so, 
although  Coolidge  became  President  several  years 
after  the  writer  left  the  news  weekly  field.  How- 
ever, my  photographic  experience  with  him  may  have 
revealed  the  man  as  he  really  is — before  there  was 
any  thought  of  the  weight  of  the  presidential  office 
resting  upon  his  shoulders. 

Taught  Coolidge  Camera  Operation 

More  than  a  decade  ago  Coolidge  came  into  the 
famed  establishment  of  Eberhard  Schneider  and 
bought  a  motion  picture  camera  for  his  own  use. 
Mr.  Schneider  assigned  me  to  teach  Coolidge  how  to 
operate  the  instrument,  and  in  so  doing  I  found  him 
to  be  quite  congenial  and  communicative,  and  not  a1 
all  "si  ill"'  or  retreating  as  he  is  sometimes  described. 
In  fact,  during  the  course  of  his  learning  how  to 
operate  the  camera  lie  himself  became  a  "performer," 
throwing  snowballs  with  the  zest  of  a  boy  while  I 
turned  the  crank  on  his  capers.  It  did  not  shock 
his  sense  of  propriety  when  I  conducted  myself  as  a 
staggering  and  limber  "drunk"  in  the  first  scenes 
that  he  ground  on  after  he  had  mastered  the  operat- 
ing principles  of  the  camera. 

"Heiniekabubales" 

Later  during  my  service  as  a  news  cameraman  I 
relieved  Struckman  in  Chicago  as  he  was  returning 
to  Congress  street.  Our  headquarters  was  the  Sher- 
man hotel.  On  the  day  before  Struckman  left,  we 
had  dinner  together,  and  he  suggested  that  we  visit 
"Heiniekabubales'"  place  to  meet  John  Barleycorn. 
Struckman  kept  up  a  stream  of  conversation  all  the 
way  to  the  entrance  of  Heiniekabubales'  palace. 
There  were  a  number  of  men  at  the  long  bar  as 
Struckman  introduced  me  to  the  bartender.  The 
well-known  question  being  asked  me,  I  replied  "a 
beer."  About  this  time  everyone  at  the  bar  stepped 
back.  It  did  not  strike  me  as  unusual  at  all  until 
later.  The  beer,  contained  in  a  tin  cup,  Avas  placed 
on  the  bar  and  as  I  reached  to  pick  up  the  cup  an 
electric  current  went  through  me,  all  of  which  made 
it  impossible  for  me  to  turn  the  cup  loose.  I  hung 
on  for  dear  life,  not  breathing  a  word  of  my  predica- 
ment, as  I  did  not  want  the  habitues  to  appraise  me 
for  a  "hick."  After  a  few  minutes  the  current  was 
shut  off  and  as  I  lifted  the  cup  Struckman  called  my 
attention  to  a  beautiful  painting  of  a  beautiful 
woman.  As  I  gazed  at  the  work  of  art,  I  felt  a  trick- 
ling sensation  down  my  trouser  leg — the  beer  was 
slowly  leaking  out  of  a  fine  hole  in  the  bottom  of  the 
cup.  I  awoke  about  this  time.  The  laugh  and  the 
drinks  were  on  me.    I  was  initiated. 


ii!iiiiiiiiiii:!iiiiiiiiii!i;nii!ii« 


m 


I       Ultra  Rapid       j 
Anastigmat       | 

I  Bausch  &  Lomb  Optical  Co.  | 

ROCHESTER.    N.  Y 
=        New  York  Chicago  Washington 

San  Francisco  Portland 


Kiiiiiiii:iiiiiiiiiniiiriii!iii!!ii 

KBIIIIIIUIBIIIIIIII 


TITLES 


ART  BACK- 
GROUNDS 


Xllllll!!lll!lll!lll!!!llll!!lllllll!l 


HOLLY    482 


iiiffiii::;:,::;!-::!i:;i!i:i!i: 


FOR  RENT 

Two  Bell  and  Howell  Cameras,  40,  50,  75  mm.  g 
|  lenses,  Thalhammer  iris.  Jean  Trebaol,  Jr.,  7042  J 
1    Stilson   Street,   Palms,   Calif.      Telephone   761-243. 


HUM 


January,  1924 


AMERICAN     CINEMATOGRAPHER 


Twenty-one 


On  my  return  to  the  hotel  a  wire  instructed  me  to 
leave  for  Denver  and  to  make  my  headquarters  at 
the  Brown  Palace.  The  city,  I  found  on  my  arrival 
there,  was  decorated  in  honor  of  the  Knight  Temp- 
lars who  were  gathering  for  one  of  their  celebra- 
tions. I  obtained— it  was  still  in  the  days  when 
parades  were  in  vogue  in  the  news  weeklies — some 
excellent  shots  of  the  conclave,  shipped  the  film  by 
express  and  decided  to  take  in  a  show.  'When  I 
went  back  to  the  hotel  the  lobby  was  being  paged 
for  me.  I  was  handed  a  wire.  My  instructions  were 
to  leave  at  once  for  Slianavon,  Saskatchewan.  I  did 
not  gel  to  a  show  for  in  a  very  few  minutes  I  was  on 
my  way  to  St.  Paul  whence  I  went  to  Slianavon. 

Ati  enterprising  publicity  man  had  painted  a  very 
rosy  picture  for  Mr.  Franconi  of  the  one  great,  mag- 
aificient,  extraordinary  rodeo  to  be  held  at  Sliana- 
von. and  he  swallowed  hook,  line  and  sinker.  I 
arrived  at  Slianavon  on  a  bright,  sunny  morning. 
Baggage  Car  Hid  Town 

Looking  out  of  the  car  window,  I  failed  to  see  the 
town— it  was  hidden  by  the  depot,  which  consisted 
of  an  old  baggage  car.  1  was  informed  that  the 
rodeo  was  to  take  place  the  next  morning.  There 
was  nothing  to  do  that  day  but  kill  time.  With  diffi- 
culty 1  managed  to  get  an  army  cot  that  night  and 
I  slept  in  the  baggage  car,  tlanked  on  either  side  by 
two  gentlemen  of  the  ^Yest  who  kept  me  awake  with 
their  snores  which  finished  with  a  whistling  accom- 
paniment, the  old  Canadian  three-star.  Well,  the 
highly-touted  rodeo  wasn't  worth  the  film  to  shoot 
it.  The  publicity  chap  surely  was  a  live-wire  and 
we  both  had  a  hearty  laugh  over  the  affair. 
(To  be  continued.) 


l!!ll!lll!lll!lllllllllDIIIIII!l!lllllllillllll!llllllllllII!!illi!li!lllllll!llllllM 


ance  than  does  the  phonograph  affect  grand  opera 
or  the  legitimate.  Also,  it  should  be  remembered, 
there  are  many  thousands  of  people  who  do  not  at- 
tend motion  picture  theatres  and  would  be  benefited 
bv  having  the  movies  brought  to  their  homes. 


GREETINGS 
OF  THE 
SEASON 

to  A.  S.  C.  members  and 
all  our  friends.  May  192'+ 
be  as  prosperous  for  you 
as    1923    was    for    Creco. 

CRECO,  INC. 

923  Cole  Are. 
Hollywood 


xiiiiniiiiiiiiiiiiiiiiin 


7he  Ultrastigm  AT-/1 .9 


New  Pair  of  Cinemachines 

(Continued  from  Page  16) 
Subjects  Steady 

Subjects  taken  with  this  little  camera  are  almost 
as  steady  as  that  obtained  with  a  motor  driven  B. 
&  H.  standard.  All  regularly  mounted  standard 
micrometer  B.  &  II.  mounts  may  be  used  with  an 
adapter,  giving  the  owner  of  a  professional  camera 
the  opportunity  of  interchanging  lenses,  thus  obtain- 
ing a  range  of  lenses  of  longer  focal  lengths.  The 
reversal  film  is  unique  in  possessing  a  remarkable 
soft  quality,  grainness  being  conspicuous  by  its 
absence. 

Prescision  in  Making 

Although  these  machines  are  being  made  in  large 
quantities,  strict  manufacturing  supervision  and 
rigid  inspection  is  maintained.  The  material,  me- 
chanical and  optical  installations  are  claimed  to  be 
equal  in  quality  and  workmanship  to  the  highest- 
priced  standard  Bell  &  Howell  equipment.  It  is  not 
thought  that  the  introduction  of  these  instruments  * 
will  affect  the  attendance  at  motion  picture  theatres,  gi 
on  the  contrary,  it  is  easily  within  the  range  of  con- 
jecture to  visualize  a  greater  stimulus  to  theatre 
patronage.     No  more  should  it  discourage  atteud- 


Speed,    flatness    of    field    and  B 

critically      sharp      definition  § 

a'-e    features    of    this    perfect  | 

!  e  )i  s      for      Motion     Picture  1 

Camerasj      ICffects     caij    be  H 

secured  with  this  lens  under  = 

conditions  which  would  yield  B 

no     results     with     lenses     of  I 
smaller  aperture. 

Ask     your     dealer     for        ^ 
descriptive    folder  —  or  fJTS  aTT]  H 
write    us.  'INTHEJI 

GUNDLACH-MANHATTAN    OPTICAL    CO.,UEN5/ j 
Clinton  Ave.,  South  Rochester,  N.  Y.  ^v^ 

JIIIIIIIllllllllIIIllllllllllllllllllllllllIIIIIIIIIII 

iillillllllllllllllllllllllllllllllllllll!^ 

SCHEIBE'S  PHOTO-  FILTER  SPECIALTIES  I 

Are  now  popular  from  coast  to  coast,  and  in  some 
foreign    countries. 

If  my  many  varieties  do  not  always  fill  the  bill,  tell 
me  your  wants  and  I  will  make  them  on  special  order. 

Always  at  your  service. 

GEO.  H.  SCHEIBE 
1636  Lemoyne  St.  Los  Angeles,  Cal. 


lllliillllllllUlK 
!!!!!!!I(IIIIIIII!!IIHIIIIIII!I!IIIIE3 


FOR  RENT 


Two   Bell   &    Howell   Cameras,   completely   equipped,  = 

|     40-50-75  mm.  lenses,    1  70-degree  shutters.    J.  R.  Lock-  §1 

1    wood    23514    N.    Brand   Blvd.,    Glendale.      Phone   Glen-  | 

|    dale    1529  or  Drexel  4275,   care  Crandall  and  Stevens,  jj 

KlIllllllllllillllllllllllllllllllllllilllllllllllllllM 


Twenty-two 


AMERICAN     CINEMATOGRAPHER 


January,  1924 


Natural  Angles  For  Goldwyn   Director 


Erich  von  Stroheim  is  extending  the  naturalism 
and  ntter  realistic  qualities  with  which  he  produced 
"Greed"  to  the  manner  in  which  he  is  cutting  the 
picture,  according  to  an  announcement  from  the 
Goldwyn  press  department.  The  noted  director  be- 
lieves a  picture,  no  matter  how  much  care  was 
exerted  in  making  it  true  to  life  during  actual  pro- 
duction, may  have  its  realism  greatly  diluted  in  the 
cutting  room,  if  the  picture  is  not  completed  under 
the  same  tenet. 

Natural  Angles 
This  naturalism  in  editing  and  cutting,  it  is  an- 
nounced, consists  of  the  manner  in  which  the 
onlooker  will  view  each  scene  of  "Greed."  Von 
Stroheim  is  placing  in  the  finished  picture  only 
those  "shots"  of  scenes  which  are  photographed  from 
a  "practical"  angle.  That  is  to  say,  angles  from 
which  a  human  being  would  see  the  scene  in  real 
life.  If  the  scene  is  taken  in  a  small  room  the  char- 
acters are  not  shown  from  an  elevated  position,  as 
though  the  onlooker  was  perched  on  the  chandelier 
or  draiied  on  the  picture  moulding. 

Fixed  Point 

Also  distances  will  not  be  altered  rapidly  during 
the  course  of  a  particular  episode.  Von  Stroheim 
believes  that  when  a  person  is  watching  the  course 
of  a  "scene"  in  real  life  he  does  not  first  go  within 
three  feet  of  the  people,  instantly  dash  back  a  couple 
of  blocks  and  then  pounce  down  in  middle  distance. 
His  view  is  generally  from  a  fixed  point,  near  or 
far,  and  occasionally  his  interest  is  centered  on  a 
particular  object,  such  as  the  face  of  one  of  the  char- 
acters. The  onlooker  may  change  his  position 
occasionally  but  not  as  a  restless  kangaroo  might  do. 

These  unnatural  angles  and  the  rapid  distance 
changes  may  be  eliminated  in  cutting,  as  von  Stro- 
heim is  doing.  Practically  every  director  takes 
numerous  shots  of  the  same  scene,  which  are  selected 
in  the  cutting  room. 


Eastman  Provides  For  Home  Cinema 

(Continued  from  Page  12) 

Throughout  its  design,  simplicity  was  the  watch- 
word— true  Kodak  ease  was  aimed  at  from  the  start. 
It  is  of  convenient  size  to  carry  and  weighs  but  7  1/4 
pounds. 

The  Kodascope,  or  projecting  apparatus,  boasts  of 
the  fine  points  found  in  the  most  advanced  profes- 
sional  machines  but  it  is  practically  automatic  in 
use.  Driven  by  a  small  electric  motor,  it  runs  itself. 
The  operator  threads  the  film,  turns  the  switch  and 
takes  his  favorite  chair.  When  the  reel  is  done  he 
need  only  cut  off  the  current.    It  is  just  that  simple. 

Both  Cine-Kodak  and  Kodascope  deserved  lenses 
of  the  highest  optical  quality.  The  Cine-Kodak  lens 
is  a  Kodak  Anastigmat  f.3.5  of  25  millimeters  focal 
length ;  the  Kodascope  lens  is  of  50  millimeter  focal 
length  and  projects  a  brilliant  30x40-inch  picture  at 
a  distance  of  18  feet. 

In  the  near  future  a  library  of  standard  releases 
will  be  offered  on  a  rental  basis  so  that  the  cinema 


world's  best  entertainment  will  be  easily  available 
for  the  Kodascope  user.  Thus  his  evening  program 
can  include  any  variety  of  professional  pictures — 
comedies,  dramas,  travel  subjects,  educational  reels, 
animated  cartoons,  and  so  forth— in  addition  to  the 
intimate,  personal  episodes  filmed  by  himself. 

The  unit  is  sold  complete  ■ —  Cine-Kodak  and 
tripod,  Kodascope,  screen  and  film  splicer — so  that 
the  purchaser  has  no  necessary  accessories  to  buy. 

Having  been  in  touch  with  the  cinematographic 
and  both  the  professional  and  amateur  photographic- 
trade  for  many  years,  T.  O.  Babb,  president  of  the 
Howland  and  Dewey  Company  of  Los  Angegles  and 
San  Francisco  which  is  introducing  the  Cine-Kodak, 
Cine  Kodak  film  and  the  Kodascope  in  the  west,  be- 
lieves that  the  inventions  are  probably  the  most  im- 
portant since  the  still  camera  for  the  amateur  reach- 
ed a  stage  of  practicability. 

Mr.  Babb,  who  is  to  be  regarded  as  an  authority 
in  the  photographic  trade,  anticipates  a  wide  usage 
for  the  new  inventions  not  only  among  amateurs, 
but  in  professional  quarters  for  special  work  and  for 
private  use. 


The   Cost  of  Cinematographers 

(Continued  from  Page  4) 

and  running  up  the  cost  of  production. 

The  efficient  cinematographer  is  an  investment. 
He  is  worth,  as  a  detailed  and  accurate  report  of 
production  would  show,  every  cent  that  is  paid  to 
him.  His  salary  should  not  be  cut.  It  should  be 
raised  if  anything.  He  protects  the  producer's  in- 
vestment. 


Problems  in  Motion  Picture  Laboratories 

(Continued  from  Page  13) 

in  this  instance,  is  50%. 

Air  will  ta,ke  up  water  in  relation  to  its  tempera- 
ture. If  we  could  employ  an  universal  factor  for 
air  conditioning  valuations  most  of  the  difficulty 
with  the  subject  would  vanish  but  these  varying  re- 
lationships preclude  the  use  of  such  a  factor.  Gen- 
erally speaking,  saturated  air  on  being  raised  to  a 
higher  temperature  is  expanded  and  is  then  capable 
of  taking  up  more  moisture.  We  will  require  no 
exact  mathematics  in  the  illustration.  If  a  given 
volume  of  air  at  32  degrees  is  saturated  and  contains 
100  grams  water  vapor,  then  the  same  volume  when 
heated  to  75  degrees  will  be  expanded  so  that  it  can 
contain  approximately  400  grams  moisture.  On 
again  cooling  this  air  to  32  we  squeeze  out  as  it 
were,  300  grams  of  water  because  as  we  have  just 
noted,  100  grams  saturates  the  given  volume  at  32 
degrees.  The  water  we  have  squeezed  out  by  cooling 
or  contracting  the  air  is  what  condenses  in  the  form 
of  dew. 

We  will  assume  a  theoretical  condition  requiring 
a  temperature  of  82  and  the  relative  humidity  05%. 
Our  wet  bulb  reading  will  then  be  73.  Remembering 
this,  let  the  air  temperature  fall  to  73  while  all  other 
conditions  remain  unchanged.  This  then  is  the 
temperature  registered  by  the  wet  bulb  as  well  and 


January,  1924  AMERICAN     CINEMATOGRAPHER  Twenty-three 

eg iiiiiiiiiiii mil  i : ;;: ,ii- .., ^.;.jii. :::;;;:,: .m: :. iiiin- .:.!.: - im .: , . i: : .n::  i;iiii: ,:.J:!..:i,ii,!.r!i;!iL-:ir;ii;;: .::.,! :. .; : ;.; , ;:;i-: ..l-  ,, iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiinii'o 


inomo 


IHE  ICA  KINAMO  may  be  rightfully  designated  as 
a  semi-professional  motion   picture  or  cine  camera — 
professional  for  the  reason  that  it  uses  standard  size 
film,  its  capacity  being  eighty  feet,  ample  for  news,  educational  and  indus- 
trial features.    The  used  roll  can  be  removed  and  a  new  one  inserted  ready 
for  use  within  less  than  thirty  seconds — a  professional  necessity. 

The  lens  is  the  Carl  Zeiss  Tessar  /  3.5,  the  lens  with  which  the  best 
feature  films  have  been  made.  It  is  fitted  with  the  Zeiss  focusing  mount, 
with  distances  in  feet  and  diaphragm  markings. 

Like  the  better  professional  cameras,  the  Kinamo 
is  fitted  with  scene  punch,  footage  indicator,  removable 
film  gate  and  one-stop  movement. 

It  is  professional  in  its  construction,  and  the  easily 
operated,  quiet  running  mechanism  is  characteristic  of 
the  best  professional  cameras. 

Its  size  over  all  is  2^x5^x6^2  and  it  weighs  but 
3^4  pounds. 

Each  Kinamo  is  furnished  with  a  substantial  tri- 
pod.   The  price  of  the  Model  "A",  accommodating  50 
feet  of  film,  is  $125.00,  and  the  "B",  having  capacity 
for  80  feet,  is  $135.00. 
The  Kinamo  is  sold  by  leading  camera  dealers.     Write  for  the  Kinamo  catalog  and  let  us  know 
your  motion  picture  requirements. 

HAROLD  M.  BENNETT,  U.  S.  Agent,  153  West  23rd  street,  New  York 


a 


■ iiiiiiiiiiiiiiiiiiiii iiiii i 11111111111 inn iiiiiiiiiiii hi iiiiiiiiiiii iiiiiiiuiuiiiiii ii niiiiiiiiiiiiiiiiiiiiiiiiiiiiiHiiiiiiiiiiiii iiiiiiiiuiiiiiim.iiiiiiiiiiiiiiiiiiiuio 


we  have  therefore  reached  the  saturation  point  or 
the  point  when  some  moisture  will  condense.  The 
feign ificanl  factor  insofar  as  the  laboratories  are  con- 
cerned is  this.  .The  temperature  id'  all  the  air  need 
nut  necessarily  be  reduced  to  cause  condensation. 
We  may  have  local  condensation.  When  our  glasses 
become  covered  wilh  dew  on  entering  a  warm  mois- 
ture laden  atmosphere  we  have  an  example  of  local 
condensation.  Radiation  from  the  cooler  "lasses 
redui  es  the  tempei'ature  of  the  air  locally  to  or  below 
the  dew  point.  We  may  draw  some  conclusions  from 
these  simple  observations. 

With  the  same  relative  humidity,  the  higher  the 
■forking  temperature  the  more  readily  is  moisture 
(precipitated.  A  reel  of  film  for  example,  which  has 
assumed  say  70  degrees  in  a  store  room  may  con- 
dense upon  itself  moisture,  when  brought  into  a 
room  ih'1  temperature  of  which  is  82  and  the  relative 
humidity  Q5%,  On  the  other  hand,  if  our  working 
temperature  is  70  and  the  relative  humidity  65% 
then  a  reel  of  film  or  any  other  object  will  not  con- 
dense moisture  unless  its  temperature  is  below  62. 


Even  if  actual  precipitation  is  not  induced  we  still 
have  a  very  moist  local  atmosphere  under  these  cir- 
cumstances. 

The  dew  point  may  be  found  experimentally  for 
any  prevailing  temperature  by  half  tilling  a  glass 
tumbler  with  water  and  adding  a  little  ice,  or  some 
"hypo"  crystals  or  granules  will  answer,  stirring 
the  mixture  with  a  thermometer.  When  the  surface 
of  the  glass  begins  to  be  covered  with  moisture,  the 
thermometer  reading  will  indicate  the  dew  point  at 
that  time. 

(To  be  continued.) 


The  American  Cinematographer — 

Herewith  find  $3.00  to  pay  for  one  years,  subscrip- 
tion to  The  American  Cinematographer,  subscription 

to  begin  with  the  issue  of 192 


Name 


Address 


Twenty-four 


AMERICAN     CINEM  ATOGRAPHER 


January,  1924 


Slight  to  Industry 
meets    Results 


Discrimination  against  the  motion  picture  indus- 
try by  Los  Angeles  municipal  officials,  as  indicated 
by  the  closing  at  midnight  of  the  annual  ball  of  the 
Motion  Picture  Directors  Association  at  the  Hotel 
Biltmore  on  Thanksgiving  Eve  while  the  festivities 
of  another  organization  were  permitted  to  continue 
into  the  small  hours  of  the  morning  at  another 
hotel,  has  met  with  pronounced  results  in  the  capital 
of  film  production. 

M.  and  M.  Association  Resents 

Civic  leaders  and  men  prominent  in  the  Southern 
California  industrial  and  business  quarters  voiced 
their  resentment  publicly  against  the  action  of 
Mayor  Cryer's  police  commission ;  and  the  Mer- 
chants and  Manufacturers  Association  of  Los  An- 
geles as  well  as  other  bodies  directly  took  issue  with 
the  Cryer  commission  for  the  perpetration  against 
the  industry. 

It  was  freely  pointed  out  that  the  present  pros- 
perity of  Los  Angeles  was  given  great  momentum, 
if  not  caused,  by  the  advent  of  the  cinema  into 
Southern  California  fields;  and  fears  were  express- 
ed that  a  series  of  such  acts  on  the  part  of  the  city 
administration  would  cause  film  production  to  move 
elsewhere. 

City  Sees  Mistake 

The  city  administration  tacticly  admitted  that  it 
had  made  a  blunder  in  the  Biltmore  affair  when  it 
passed  an  "emergency  ordinance,"  which,  to  rule 
during  the  holidays  just  passed,  permitted  dancing 
until  two  a.  m.  on  the  mornings  of  holidays  and  days 
preceding. 

New  Ordinance  Considered 

As  this  magazine  goes  to  press,  the  city  council  is 
reported  as  being  considering  the  passing  of  a  new 
ordinance  which  will  extend  the  hours  of  legalized 
dancing  past  midnight.  While  insofar  as  the  motion 
picture  industry  is  concerned  the  dance  closing  hour 
is  but  incidental  in  the  issue  to  which  the  act  of  the 
police  commission  contributed,  the  fact  that  the  city 
legislators  have  seen  fit  to  take  legislative  action  as 
the  result  of  the  slap  at  the  directors  and  the  indus- 
try is  construed  as  being  indicative  of  their  recogni- 
tion of  the  slight  aimed  at  the  cinema. 
Lose  Wampas  Frolic 

Perhaps  the  outstanding  result  of  the  Biltmore 
blunder  is  the  fact  that  Los  Angeles  has  lost  the 
'•Wampas  Frolic"  which  has  gone  to  San  Francisco 
instead.  This  event  staged  by  the  Western  Motion 
Picture  Advertisers  (familiarly  known  as 
"W'ampas")  composed  of  the  publicity  men  of  the 
film  industry  and  the  theatres  in  Los  Angeles, 
stands  preeminently  as  one  of  the  most  brilliant  of 
the  Angel  City's  social  attractions. 

Publicity  For  Los  Angeles 
Not  only  has  it  been  a  success  as  a  social  attrac- 
tion in  the  past,  but  it  has  been  the  medium  wherby 
millions  of  dollars  of  publicity  accrued  to  Los  An- 
geles by  virtue  of  its  staging.  During  the  regular 
course  of  their  duties,  the  publicity  men  connected 


Los  Angeles    loses    "Wampas 

Frolic" — Administration  brings 

down  general  resentment. 

with  motion  pictures  send  out  news  to  lists  of  news- 
papers and  other  publications,  numbering  into  the 
hundreds  and  spanning  the  whole  of  the  United 
States  as  well  as  fpreign  countries.  When  the  time 
of  the  Wampas  Frolic  comes  to  hand,  the  connec- 
tion with  the  frolic  of  the  various  celebrities  and  or- 
ganizations which  the  publicity  men  represent  finds 
its  way  into  the  channels  of  the  studio  publicity 
with  the  consequence  that  the  place  where  the  ball 
is  held  receives  advertising  throughout  the  world. 
No  Guarantee  Against  Insult 
The  Wampas  Frolic  was  virtually  driven  out  of 
Los  Angeles  by  the  city  administration.  Past  frolics 
have  of  necessity  extended  well  beyond  midnight, 
not  only  because  those  who  attended  were  not  prone 
to  break  away  from  its  many  attractions  at  an  early 
hour  but  because  the  nature  of  the  work  of  the  in- 
numerable screen  celebrities  who  augment  the  event 
with  their  collective  and  individual  appearances 
thereat  prevents  their  showing  up  at  an  early  hour 
— for  instance,  when  they  are  obliged  to  drive  miles 
from  location  to  get  home  to  change  into  formal  at- 
tire  before  they  can  proceed  to  the  Wampas  affair. 
It  is  evident  that  an  early  closing  hour,  which  would 
perforce  necessitate  an  early  opening  hour,  would 
work  disaster  on  the  frolic.  The  patrons  might  be 
present  but  where  would  the  attractions  be? 

Police  Commission  Martyrs 

The  police  commission,  possibly  believing  them- 
selves to  be  martyrs  in  the  face  of  the  withering 
criticism  which  was  fired  at  them  from  all  sides, 
flatly  refused  to  allow  the  Wampas  merry-making 
to  extend  beyond  midnight.  This  refusal  was  laid 
down  over  the  head  of  the  assertion  of  Kay  Leek, 
prominent  publicity  man  and  director-general  of  the 
1924  frolic,  that  such  permission  has  been  given  in 
the  past,  even  under  the  Cryer  administration. 

Frisco's  Hospitality 

Where  official  Los  Angeles  turned  a  cold  shoulder 
to  the  publicity  men  of  the  motion  picture  industry, 
San  Francisco  stepped  forward  with  open  arms. 
The  publicity  men  sent  a  committee  composed  of 
Harry  Brand,  Peter  Gridley  Smith  and  Harry  Wil- 
son to  the  Bay  City  to  investigate  the  frolic  possi 
bilities,  and  they  were  officially  received  and  recog 
nized  during  the  whole  of  their  stay  in  the  Golden 
Gate  municipality.  The  key  to  the  city  was  given 
them,  as  it  were,  and  they  were  assured  that  the 
motion  picture  industry  would  not  be  subjected  to 
indignities  if  they  held  their  frolic  in  San  Francisco 

Official  Visit 

On  the  return  of  the  Wampas  committee  to  Los 
Angeles,  the  northern  city  sent  a  body  of  officials 
including  its  chief  of  police  to  Los  Angeles  to  offi 
cially  welcome  the  industry  to  its  boundaries. 

The  upshot  is  that  the  1924  Wampas  Frolic  will 
be  held  January  19th  in  San  Francisco's  civic  audi 
torium  with  no  arm  of  the  law  to  descend  to  instruct 
the  people  at  what  minute  dancing  becomes  illegal 


January,  1924 


AMERICAN     CINEM ATOGRAPHER 


Twenty-five 


A^ 


fhmza 


Robert  Kurrle,  A.  S.  C,  apparently  is  adept  at  ac- 
quiring knowledge  concerning  other  things  besides 
cinematography  judging  from  his  post  cards  in 
which  he  is  already  practicing  his  French  on  his 
friends.  The  last  card  announced  18  francs  to  a 
dollar  and  that  Bob  was  about  to  leave  Algiers  for  a 
400  mile  automobile  trip  to  Biskra.  Bob  is  filming 
the  Edwin  Carewe  production  that  is  being  made 

abroad. 

*  #       * 

John  Seitz,  A.  S.  C,  is  also  in  northern  Africa 
filming  Rex  Ingram's  production,  "The  Arab." 
John  Boyle,  A.  S.  C,  is  in  Italy  to  photograph 

"Ben  Hur." 

*  *       * 

Rene  Guissart,  A.  S.  C,  is  filming  a  J.  Parker 
Read  production  at  Monte  Carlo. 

*  *       * 

Robert  Newhard,  A.  S.  C,  is  showing  the  delights 
of  Southern  California  to  his  brother  who  has  spent 
the  last  25  years  in  eastern  Russia,   having   been 

United  States  consul  a  great  part  of  that  time. 

*  *       * 

Andre  Barlatier,  and  George  Benoit,  two  A.  S.  C. 
members  who  first  learned  the  alphabet  in  French, 
are  being  called  upon  by  fellow  cinematographers  to 
read  the  captions  of  the  illustrative  post  cards  which 
Robert  Kurrle  is  directing  to  Hollywood. 
»       #       * 

George  Schneiderman,  A.  S.  C,  has  left  on  another 
lengthy  location  trip  for  the  making  of  the  Fox  spe- 
cial production,  "The  Transcontinental  Railroad." 

*  *       * 

Frank  B.  Good,  A.  S.  C,  has  begun  actual  shoot- 
ing of  Jackie  Coogan's  "The  Boy  of  Flanders." 

*  *       *^ 

Victor  Milner,  A.  S.  C,  has  finished  photography 

on  Fred  Niblo's  production,  "Thy  Name  Is  Woman." 

*  *       * 

Arthur  Edeson,  Philip  H.  Whitman  and  Kenneth 
MacLean,  all  A.  S.  C,  members,  have  been  working 
from  dusk  to  dawn  instead  of  from  sunrise  to  sun- 
set in  filming  the  final  scenes  for  Douglas  Fairbanks' 
"The  Thief  of  Bagdad." 


George  Meehan,  A.  S.  C 
schedule  extended  into  the 
comedies. 


also  has  had  his  filming 
night  hours  on  White 


Harry  Perry,  A.  S.  C,  is  preparing  for  the  photo- 
graphy on  the  latest  B.  P.  Schulberg  production. 

*       *     * 

Charles  Rosher,  A.  S.  C,  has  begun  the  camera 
work  on  Mary  Pickford's  "Dorothy  Vernon  of  Had- 
don  Hall."  ,©l9£i 


Fred  Jackman,  A.  S.  C,  and  Homer  Scott,  A.  S. 
C,  became  excavators  during  a  recent  trip  to  the 
Mexican  border  when  their  automobile  refused  to 
cope  with  muddy  roads. 

*  *     * 

Frank  Williams  addressed  a  well-attended  open 
A.  S.  C,  meeting  recently  on  his  patent  process  and 
exhibited  several  hundred  feet  of  representative 
shots.  An  interesting  discussion  followed  the  show- 
ing of  the  film. 

*  »     * 

Walter  Griffin,  A.  S.  C,  is  filming  a  six  reel  J.  P. 

McGowan  production. 

*  *       * 

Max  Du  Pont,  A.  S.  C,  is  photographing  the 
Thomas  H.  Ince  production,  "The  Galloping  Fish." 


Henry   Sharp,  A.   S.  C,  is  filming  "Against  the 
Rules,"  Ince  production  directed  by  John  Griffith 

Wray. 

*  *     * 

Steve  Norton,  A.  S.  C,  is  photographing  the  all- 
star  Bruce  Mitchell  production,  "The  Inner  Sight." 

*  *     * 

John  Arnold,  A.  S.  C.„  is  shooting  Viola  Dana's 
"Revelations,"  directed    by    George    D.    Baker    for 

Metro. 

*  »     * 

Tony  Gaudio,  A.  S.  C,  is  in  the  second  month  of 
photography  on  Norma  Talmadg's  "Secrets." 

X  *  * 

Gilbert  Warrenton,   A.   S.   C,   is  filming  Joseph 
De  Grasse's  production  of  Rex  Beach's  "Flowing 
Gold"  for  First  National. 


Don  Clark,  A.  S.  C,  is  filming  Willian  Duncan's 
"The  Fast  Express"  for  Universal. 

*  »     • 

Jackson  Rose,  A.  S.  C,  has  finished  photography 
on  "The  Thrill  Girl,"  starring  Laura  La  Plante. 

*  *       * 

John  Stumar,  A.  S.  C,  is  making  preparations  for 
the  filming  of  the  Warner  Bros,  production,  "How  to 

Educate  a  Wife,"  to  be  directed  by  William  Seiter. 

*  *     * 

David  Abel,  A.  S.  C,  is  preparing  to  shoot  the 
Warner  Bros,  production  of  Sinclair  Lewis'  "Bab- 
bitt," to  be  directed  by  Harry  Beaumont. 

*  *     • 

E.  B.  DuPar,  A.  S.  C,  will  shoot  "Lovers'  Lane," 
to  be  directed  by  William  Beaudine  for  Warner 
Bros. 


Twenty-six 

HI 


AMERICAN     CINEM  ATOGRAPHER 

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January,  1924 

lii!!!i!IIUIIII!IIIIIIIII!!lll!l!llll!!IK 


RELEASES 

llopember  18th,  to  December  15th,  1923 


TITLE 


PHOTOGRAPHED  BY 


"The  Unknown  Purple" 

"The  Day  of  Faith" 

"Maytime" 

'*To  The  Ladies" 

"Fashion  Row" 

"The  Mailman" 

"The  Near  Lady" 

"The  Light  That  Failed" 

"The  Man  from  Brodney's" 

"Crooked  Alley" 

"You  Are  In  Danger" 

"In  the  Palace  of  the  King" 

"This  Freedom" 

"Half-A-Dollar-Bill" 

"Tiger  Rose" 

"The  Satin  Girl" 

"The  Daring  Years" 

"The  Red  Warning" 

"Six  Cylinder  Love" 

"The  Whipping  Boss" 

"Slave  of  Desire" 

"A  Lady  of  Quality" 

"Her  Temporary  Husband" 

"The  Shepherd  King" 
"The  Dangerous  Maid" 
"Cupid's  Fireman" 
"Enemies  of  Children" 


Oliver  Marsh. 

Wm.  Fildew,  member  A.  S.  C. 

Karl  Struss. 

Karl  Brown,  member  A.  S.  C. 

Oliver  Marsh. 

Ross  Fisher,  member  A.  S.  C. 

Wm.  Thornley. 

Charles  G.  Clark. 

Steve  Smith,  Jr.,  member  A.  S.  C. 

Harry  Fowler. 

Andre  Barlatier,  member  A.  S.  C. 

Lucien  Andriot. 

Not  Credited. 

Andre  Barlatier,  member  A.  S.  C. 

Charles  Rosher,  member  A.  S.  C. 

Not  Credited. 

J.  O.  Taylor. 

William  Nobles. 

Alex.  G.  Penrod. 

Walter  Griffin,  member  A.  S.  C. 

John  Boyle,  member  A.  S.  C. 

Charles  Stumar,  member  A.  S.  C. 

S.  E.   Landers,  and  Perry  Evans,  members 
A.  S.  C. 

Ben  Miggins. 

Glenn  MacWilliams. 

Joe  August. 

Glen  MacWilliams  and  John  Miehle. 


MUlltll 


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,o 


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HOW  TO  LOCATE  MEMBERS  OF  THE 

American 
Society    of    Cinematographers 

Phone  Holly  4404 


OFFICERS 


•Tames  C.  Van  Trees 
John  F.  Seitz 
Charles  Van  Enger 
Victor  Milner 
Frank  B.  Good      . 
Philip  II.  Whitman 


President 

First  Vice-President 

Second  Vice-President 

Third  Vice-President 

Treasurer 

Secretary 


Gaetano  Gaudio 
Victor  Milner 
Walter  Griffin 
.lames  Van  Trees 
Reginald  Lyons 


BOARD  OF  GOVERNORS 

Frank  B.  Good 
Fred  W.  Jackman 
Jackson  J.  Rose 
Charles  Stnmar 
Horner  A.  Scott 


Paul  Perry 
Charles  Van  Friger 
George  Schneiderman 
Philip  H.  Whitman 
L.  Guy  Wilky 


Abel,    David — with    Warner   Brothers. 

Arnold,    John — with   Viola  Dana,   Metro   Studio. 

Barlatier,    Andre — 

Barnes,    George   S. — with    Cosmopolitan,    New   York. 

Beckway,   Wm. — with  Capt.   Corlett,  Mexico. 

Kenoit.    Georges — Belasco  Prod.,   United   Studios. 

Broening,   H.    Lyman — 

Boyle,    John    W. — with    Charles   Brabin,    Europe. 

Brodin.  Norbert  F. — Frank  Lloyd  Prods.,  First  National, 
United     Studios. 

Brotherton,    Joseph — 

Brown.    Karl — with    James   Cruze,    Lasky    Studio. 

1 'aim.    Bert — Europe. 

Clark.    Dan— with    Fox. 

Corby,   Francis — with  Hamilton-White.  Fine  Arts  Studios. 

Cowling,    Herford    T. — Travel    Pictures,    Asia. 

Cronjager,    Henry — with    Lasky   Studio,    New   York. 

Dean,     Faxon    M. — with    Joe    Henabery,    Lasky    Studio. 

1  >uian.     Robert    S. — with     Roach     Studio. 

Dored,     John — Scenic.     Russia.     Pathe. 

Dubray,    Joseph    A. — with    R-C    Studio. 

DuPar,    10.    H. — with    Warner    Brothers. 

Du  Pont,   Max  B.— with  Douglas  MacLean.  R.   C.   Studios. 

Edeson,  Arthur — with  Douglas  Fairbanks,  Fairbanks- 
rick  ford    Studio. 

Evans,     Perry — 

Fildew,     William — with    Irving    Cummings,    Universal. 

Fisher,  Ross  G. — with  A.  J.   Brown   I 'rods..  Russell  Studio. 

Gaudio,  Tony  (',. — with  Norma  Talmadge,  Joseph  Schenek 
Productions,    United    Studio. 

Gilks,    A.    L.— with    Sam    Wood.    Lasky    Studio. 

Good.    Prank    R. — with    Jackie    Coosan.    Metro    Studio. 

Granville,  Fred  L. — directing,  British  International  Corp., 
London. 

C,iav,    King — Wilnat    Studios. 

Griffin,    Walter    L.— 

Guissart,    Rene — with   J.   Parker   Read,   Monte   Carlo. 

Heimerl,     Alois     G. — 

Jackman,    Floyd — with   Fred   Jackman,    Roach    Studio. 

Jackman,    Fred    W. — directing.    Roach    Studio. 

Koenekamp,    Hans    F. — with    Larry    Seraon. 

Kull,    Edward — with    Universal. 

Kurrle.    Robert — Edwin    Carewe.    Europe. 

Landers,   Sam — with   first  National,   United   Studio. 

Lockwood.    J.    R. — 

Lundin.    Walter — with    Harold    Lloyd    Prods.,    Hollywood 


Lyons,  Reginald  E. — 

MacLean,   Kenneth  G. — with  Douglas  Fairbanks. 

Marshall,  William — with  Carlos  Productions. 

Meehan,     George — with     Jack    White     Corp.,     Fine    Arts 

Studio. 
Milner,    Victor — with   Fred   Niblo,   Clune's   Studio. 
Morgan,  Ira  H. — Marion  Davies,  Cosmopolitan,  New  York. 
Newhard,    Robert    S. — 
Norton,     Stephen    S. — with    Bruce    Mitchell    Prods.,    Ince 

Studio. 
Overbaugh,    Roy   F. — New   York    City. 
Palmer,    Ernest    S. — 
LePicard,    Marcel — New  York. 

Perry.    Harry — with   Preferred   Prods.,    Mayer   Studio. 
Perry,    Paul   P. — with   Ince    Studio. 
1'olito,  Sol— 
Kirs.    I 'ark,   J.— 
Rizard,  Georges — 

Rose.   Jackson — With   King  Baggott,   Universal   Studio. 
Rosher,     Charles — With     Mary     Pickford,     Pickford-Fair- 

banks  Studio. 
Schneiderman,   George — Fox   Studio. 
Scott,    Homer — 

Seitz.    John   F. — With   Rex   Ingram,    Europe. 
Sharp,   Henry — With   Ince   Studio. 
Short,    Don-— With   Fox   Studio. 
Smith.  Steve,  Jr. — With  Vitagraph  Studio. 
Steene,    E.    Burton — New  York. 
Stumar,   John — With   Wm.   Seiter,   Warner  Bros. 
Stumar,    Charles — With    Universal. 
Thorpe,    Harry — 
Totheroh,      Rollie     H.— With     Charlie      Chaplin,      Chaplin 

Studio. 
Van   Buren,    Ned — In  New  York. 
Van   Enger,   Charles — with  Ernst  Luhitsch,  Warner,  Bros. 

Studio. 

James — with     John     Francis     Dillon — United 


Van      Trees 

Studios- 
Walter.    It. 
Studio. 

Warrenton, 

Whitman 


W. — With   Mack   Sennet   Productions,    Sennett 


Gilbert— With  First  National.  United  Studios. 
Philip     H. — With     Douglas     Fairbanks,     Fair- 
banks-Pickford    Studio. 
Wilky,    L.    Guy — With    William    De    Mille,    Lasky    Studio. 


Studios. 

Edison.    Thomas   A. — Honorary    Member. 
Paley,    William    "Daddy" — Honorary    Member. 
Webb,   Arthur   C. — Attorney. 
Meetings  of  the  American   Society  of   Cinematographers  are  held  every  Monday  evening  in  their  rooms,  suite  325, 
Markham  Building.     On  the  first  and  the  third  Monday  of  each  month  the  open  meeting  is  held;  and  on  the  second  and 
the  fourth,  the  meeting  of  the  Board  of  Governors. 


1    LOYALTY 


PROGRESS 


ART 


.Oregon 

October    22 ,    1923. 


(Oat  v 


,n 


.Mitchell  Camera  Company, 

6019  Santa  Monica  Boulevard, 
Hollywood,  Calif. 
Gentlemen : 

This  morning  we  wired  you  as  follows: 

"Ship  parcel  post  collect  immediately 
1  Belt,  1  Camera  Crank,  1  Main  Crank: 
Shaft". 

The  need  for  these  parts  is  not  caused  through  any  defect 
in  either  material  or  workmanship  on  your  camera  hut  last  week 
our  troupe  was  down  to  the  coast  doing  some  water  stuff  and  the 
cameraman  was  caught  by  an  incoming  wave  which  up  set  both  him 
and  the  camera  and  in  the  splash  the  belt  and  main  camera  crank 
were  put  out  of  commission. 


/ 


>'  / 


However,  the  balance  of  the  machine  has  been  put  in  A-l 
condition  by  our  cameraman,  Mr.  Cook.  We  were  very  fortunate 
indeed  to  have  Mr.  Cook  with  us  when  this  thing  happened  for  wa 
believe  had  he  not  had  presence  of  mind  enough  we  should  have 
lost  the  entire  equipment. 

Trusting  that  our  wire  will  receive  prompt  attention  and  with 
all  good  wishes,  we  are 


Very  truj 
PREMIUM/ 

By 


>urs , 


DUCT  IONS 


President, 


F/T 


Uol.  1U 
No.     11 


February  1924 


25   Cents 
A     Copu 


C^5^ 


American 
Cinematographer 

Published  by  the  American  Society  of  Cinematographers,  Inc. 


In  This  Issue 

Photographing  the  Roof  of  the  IDorld-^ 

By  Herford  Tynes  Cowling,  A.S.C. 

Protecting  Ttlotion  Picture  ^Titles— 
By  F.  G.  Bradbury 

Filming  Ladybirds  Under  the  microscope^ 
By  Walter  Anthony 

IPhen  a  Yankee  Shot  King  Qeorge-^ 

Sixth  Installment,   "  Fade  Out  and  Slowly  Fade  In " 

By  Victor  Milner,  A.S.C. 


PUBLISHED  IN     HOLLYWOOD,    CALIFORNIA 


iiiiiiiiniiiiii::  III  Ilium        llllllllll  !;:iiiillllllllllilllllllililillliiiiiiiiiii:iH 


a3Aade  in  Hollywood— 
The   Standard   Way. " 

The  final  verdict  of  the  cinematographer's  art  comes  from  the 
public. 

And  the  public  judges  the  photography  by  the  Release  Prints. 

How  important  it  is  then  that  these  Release  Prints  be  made 
right  here  where  close  co-operation  with  camera  man  and  director 
is  possible. 

This  is  why  more  and  more  Release  Prints  are  being  "Made 
in  Hollywood — the  Standard  Way." 


Standard  film  IraboraloN&s 

fEtHLod  Seward  and RomainoSuveU 

ujqq  Hollywood California 


fftaitcfard  TmqtjS 


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Vol.  IV 


ir::: n: ':::::it: :;s::::r";- 


FEBRUARY,  1924 


iiiiiiiiiiiiiiiiiiiiiiii 
No.  11 


H 


American 
Cinematographer 

The  Uoice  of  the  TTlotion  Picture  Cameramen  of  America;  the  men  who  make  the  pictures 

FOSTER  GOSS,   Editor  and   Business   Manager 

Board   of   Editors— VICTOR    MILNER,   H.   LYMAN    BROENING,    KARL   BROWN,   PHILIP   H.   WHITMAN 

ALFRED   B.    HITCHINS,   Ph.    D.,    F.   R.    P.   S.,    F.   R.    M.   S.,    F.   C.  S.,  Associate   Editor 


Table  of  Contents 


Filming  Ladybirds  ruder  the  Microscope — 
By  WALTER  ANTHONY 

Photographing  the  Roof  of  the  World — 

By  HERFORD  TYNES  COWLING,  A.  S.  C. 

Protecting  Motion  Picture  Titles — 

By  F.  G.  BRADBURY         .... 

"Fade  Out  and  Slowly  Fade  In,"  Sixth  Tnstallment- 
By  VICTOR  MILNER,  A.  S.C.    . 

The  Editors'  Corner 

Problems  in  Motion  Picture  Laboratories,  Final   Install- 
ment, from  Transactions,  S.  M.  P.  E. — 
By  M.  BRIEFER 

.4.  S.  C.  Buys  Hollywood  Offices 

Wampas  Frolic  Described  by  A.  S.  C.  Member 

Max  Du  Pont,  A.  S.  C,  Off  to  Tahiti  for  Long  Best 

John  Boyle,  A.  S.  C .,  Ready  to  Shoot  "Hen  Eur"  in  Italy 

Releases 

In  Camerafornia 

A.  S.C.  Roster 


Page 


8 

9 

JO 


12 

13 
V 
22 
24 
2d 
20 
27 


An   educational   and    instructive   publication,   espousing    progress   and    art 
Published   monthly  by  The  American   Society  of  Cinematographers,   Inc. 
Subscription  terms:      United  States,  $3.00  a  year;   Canada,  $3.50    a   year; 
Advertising  rates  on   aopllcation. 
Los  Angeles,  California 
(Copyright,    1924,    by   The    American    Society   of    Cinematographers,    Inc.) 


in   motion   picture  photography, 
foreign,   $4.00   a   year;   single   copies,  25   cents. 
Telephone,    Hollywood   4404 


Six 


AMERICAN     CINEM  ATOGR  APHER 


February,  1924 


known  as  Lamaism  and  was  very 
keen  to  visit  the  only  accessible 
land  of  the  Lama  religion  and  wit- 
ness some  of  its  mysteries,  to  say 
nothing  of  taking  the  iirst  cine- 
matograph camera  into  this  coun- 
try where  I  believe  I  have  secured 
the  only  existing  films  of  this 
nature. 

After  an  only  too  short  and 
pleasant  stay  in  Kashmir  I  was 
loath  to  turn  my  back  on  the  land 
of  "Lalla  Rookh'-  and  plunge  into 
the  Unknown  Empire  with  a  four 
hundred  mile  march  ahead  and  no 
idea  how  long  it  would  take  me  to 
complete  the  trip.  The  journey 
into  this  country  as  far  as  the 
capital  at  Leh  is  of  very  little  in- 
terest except  the  crossing  of  the 
high  passes  in  the  Western  Hima- 
layas where  one  has  to  pick  one's 
weather  carefully  and  be  prepared 
for  very  cold  atmosphere  in  the 
high  altitudes.  One  can  but 
marvel  how  the  Sikh  and  Dogra 
conqueror  crossed  this  range  and 
subdued  all  the  countries  to  the 
north  in  their  conquest  of  1830 
A.  D.,  and  thus  split  this  terri- 
tory from  its  paramount  ruler  the 
Grand  Lama  at  Lhasa.  There  is 
no  natural  division  between  West- 
ern and  Chinese  Tibet,  the  moun- 
tains of  one  continue  into  the 
other  and  the  same  rivers  How 
through  both  countries. 

Large  Outfit 

My  outfit  consisted  of  twenty- 
three  ponies  or  yaks,  whichever 
transport  might  be  available  and 
some   times   it   was   necessary   to 


use  coolie  transport  where  I  re- 
quired about  thirty-five  men,  who 
carried  all  tents,  supplies,  photo- 
graphic apparatus,  etc.,  as  it  was 
necessary  to  carry  all  my  food 
supplies  on  this  trip  because  only 
sheep  and  chickens  were  avail- 
able. 

On  the  high  passes  the  days 
were  comfortable  enough  when  no 
storms  were  encountered  but  the 
nights  were  verv  cold  indeed, 
whereas  at  18,000  feet  I  have 
known  the  hot  water  supplied  by 
my  cook  in  the  mornings  to  freeze 


One   of  the    Largest    Lamaseries    at    Lamayuru 


before  I  could  use  it  for  washing 
my  face. 

Surely  the  most  interesting 
part  of  the  trip  was  the  Lamaser- 1 
ies  and  Semi-Buddhist  Lamas  who 
have  been  left  to  carry  on  their 
own  religion  in  their  own  manner 
without  molestation  from  the  rul- 
ers of  the  couutry  and  who  still 
look  to  the  Grand  Lama  in  Lhasa 
as  their  spiritual  head  while  being 
forced  to  recognize  others  as  their 
lawful  ruler.  These  Lamas  build 
their  Lamaseries,  which  are  often 
called  monasteries,  high  upon  the 
hills  and  peaks  of  mountains  and 
in  the  most  inaccessible  spots  for 
some  reason  I  have  never  been 
able  to  determine. 

Prayer  Wheels 

The  Lamaseries  are  occupied  by 
an  Order  of  Monks  called  Lamas 
who  devote  their  lives  to  the  work 
of  the  religion  and  spend  their 
time  chiefly  turning  p  r  a  y  e  r- 
wheels,  performing  Devil  Dances 
upon  stated  occasions,  and  fur- 
nishing their  followers  with  spir- 
itually blessed  prayer-wheels  with 
which  to  perform  their  daily  de- 
votion. 

Prayer  a  la  Mode 

The  institution  of  the  mechan- 
ical prayer-wheel  is  something  I 
have  never  seen  before  in  any  part 
of  the  world  and  consists  of  cyl- 
inder wheels  of  all  sizes  contain- 
ing prayers  written  on  paper  by 


February,  1924 


AMERICAN     CINEMATOGRAPHER 


Seven 


the  Lama  Monks  and  often  have 
prayers  written  on  the  outside, 
every  evaihtble  space  being  tilled 
with  Tibetan  language  characters 
indicating  prayers.  Prayer- 
wheels  are  often  seen  erected  on 
tops  of  the  houses  which  are  oper- 
ated by  the  wind.  They  are  even 
seen  along  every  brook  or  stream 
continually  operated  by  the  water 
power  and  along  every  roadside 
— these  wheels  are  made  of  any- 
thing from  clay  to  kerosene  oil 
tins  and  left  for  the  passer-by  to 
give  a  casual  turn  as  he  passes, 
while  at  every  turn  and  corner 
some  devote  believer  is  seen  twirl- 
ing a  miniature  prayer-wheel  in 
his  right  hand  while  performing 
whatever  labors  and  duties  are  his 
with  his  left  hand;  it  is  thus  that 
they  obtain  religious  merit.  Truly 
it  is  comical  and  yet  one  must  ad- 
mire the  devotion  with  which 
these  people  carry  out  the  rites 
of  their  religion  and  believe  in  the 
power  of  mechanically  operated 
prayers.  When  it  is  considered 
that  they  cannot  read  or  write  and 
have  very  little  chance  of  being 
taught  otherwise  one  need  not 
(piestion  the  methods  pursued  in 
the  operation  of  their  prayer- 
wheels  although  it  may  seem 
strange  to  our  Western  minds. 

It  was  both  my  good  fortune 
and  pleasure  to  be  able  to  witness 
the  Grand  Miracle  Play  at  Hemis 
Lamasery,  which  included  a  num- 
ber of  Tibetan  Lama  Devil  Dances 
given  annually  at  the  larger  Lam- 
aseries and  throughout  Tibet.     It 


is  indeed  a  varied  and  strange 
sight  and  I  was  permitted  to  film 
it  for  the  first  time  through  the 
kindness  of  the  Skushok,  who  is 
the  head  of  this  religious  organi- 
zation in  this  country.  The  ex- 
traordinary resemblance  between 
much  of  the  pageantry  and  forms 
of  Tibetan  Buddhism  and  those 
of  the  Church  of  Rome  is  appa- 
rent in  many  of  their  ceremonies 
and  has  been  observed  by  all  trav- 
elers in  these  regions.  The  Lamas 
have  the  appearance  of  the  early 
Christian  bishops,  wearing  mitres 


The  A.  S.   C.   Member's  Camp  in  the   Himalayas  at  11,000  Feet 


and  copes,  carrying  pastoral 
crooks,  swinging  censers  of  in- 
cense as  they  walk  in  procession, 
slowly  chanting.  It  is  difficult  for 
me  to  give  a  long  account  of  the 
ever-changing  and  very  interest- 
ing mummery  which  was  carried 
on  throughout  the  entire  cere- 
mony of  the  Miracle  Play ;  it  was 
a  bewildering  conglomeration  of 
strange  sights,  a  din  of  unearthly 
music  which  almost  caused  my 
reason  to  waver  and  make  me  be- 
lieve that  I  was  indeed  in  the 
magic  realm  represented  by  the 
actors. 

The  play  is  designed  to  show  a 
dreadful  world  where  the  help- 
less, naked  soul  of  man  has  its 
existence  in  an  obscure  space  of 
malignant  demons,  perpetually 
seeking  to  destroy  and  harass  him 
with  the  tortures  and  terrors  at 
their  command  and  against  which 
powers  he  can  do  nothing  but  the 
occasional  prayers  which  may 
shield  him  in  this  doubtful  con- 
test between  himself  and  the  evil 
spirits.  The  actors  are  arrayed 
in  the  most  grotesque  masks  and 
costumes  depicting  hideous  de- 
mons and  animals  of  the  most  un- 
imaginable shape  and  form,  some 
taking  the  form  of  skeletons; 
others  wearing  costumes  made 
from  human  bones;  many  colored 
and  grotesquely  designed  robes 
worn  by  the  performers  were  of 
(Continued  on  Page  16) 


Eight 


AMERICAN     CINEM ATOGRAPHER 


February,  1924 


Protectinq       ttloHon       Picture       Titles 


Attorney  finds  way  to  defeat 
theft  of  Motion  Picture  Titles 

The  willful  pilfering  of  titles  to 
motion  pictures  is  too  frequent  to 
raise  any  doubt  in  the  minds  of 
producers  of  the  urgent  need  of 
more  effective  methods  of  protec- 
tion than  have  been  practiced  to 
date. 

The  common  understanding  is 
that  a  name  of  a  picture  cannot 
be  protected  because  the  "Copy- 
right" merely  protects  the  subject 
matter  and  not  the  title.  While 
it  is  a  well  established  principle 
of  law  that  the  copyright  does  not 
protect  the  name,  there  is  a  phase 
of  protection  under  the  Trade 
.Mark  law  which  does  protect  and 
which  by  proper  application  will 
probably  give  the  relief  which  is 
desirable. 

Property   Right 

It  has  been  established  beyond 
a  question  of  any  doubt  that  there 
is  in  the  name  of  a  literary  com 
position,  play  or  picture,  a  cer- 
tain property  right  and  that  as 
such,  protection  may  be  afforded 
against  any  infringement. 
Decisions  Involved 

The  trouble  has  been  where  an 
effort  has  been  made  to  apply  this 
principle,  decisions  are  befogged 
by  conditions  and  technicalities  in 
each  individual  case,  leaving  the 
public  in  doubt  as  to  what  pro- 
tection, if  any,  can  be  secured  for 
the  title.  In  the  early  production 
of  motion  pictures  it  was  common 
practice  to  hold  up  before  the 
camera  at  intervals,  the  printed 
title  of  the  picture  or  some  other 
distinctive  mark,  in  an  endeavor 
to  protect  the  title  by  the  copy- 
right which  was  subsequently  se- 
cured. This  proved  ineffective  and 
since  abandonment  of  this  method, 
the  appropriation  of  titles  by 
those  unauthorized  to  do  so  has 
become  common.  As  fast  as  a  big 
run  picture  is  exhibited,  there  is 
an  imitation  of  its  title  to  be 
found  "  a  r  o  u  n  d  the  corner," 
sponging  upon  the  popularity  of 
the  successful  one. 

Century-old  Cases 

Scattered  through  court  deci- 
sions dating  as  far  back  as  1825, 
titles  to  publications  were  held 
to  be  a  species  of  property  rights, 
bordering     upon     "trade     marks" 


By  F.  G.  Bradbury 


From  the  earliest  days, 
producers  have  been  facing 
the  apparently  hopeless  task 
of  preventing  the  titles  to 
their  productions  from  being 
stolen.  \'arious  means  have 
been  tried,  but  failed.  The 
author,  a  prominent  Los  An- 
geles attorney,  with  a  large 
practice  in  Federal  matters, 
re  reals  the  way  to  defeat  en- 
croachments on  irhat.  in 
truth,  constitutes  their  prop- 
erty rights.  This  revelation 
is  expected  to  be  revolution- 
dry  in  its  importance. 


and  as  such  are  properly  for  use 
by  an  originator  in  trade  to  the 
exclusion  of  others. 

"Buster  Brown"  Case 

"Buster  Brown,"  at  the  head  of 
a  single  page  of  comic  section  of 
a  newspaper  was  held  to  consti- 
tute a  valid  trade  mark.  Follow- 
ing this  decision  a  case  in  which 
"I/Aiglon"  involved  the  question 
of  a  trade  mark  as  applied  to  a 
play  was  answered  by  injunctive 
relief  to  protect  the  use  of  the 
title.  Strengthening  the  position 
that  a  motion  picture  title  is  the 
proper  basis  for  "trade  mark"  pro- 
tection, in  a  decision  in  the  case 
in  which  "Nick  Carter"  was  the 
title  and  character  in  a  motion 
picture,  it  was  held  that  the  class 
of  goods  "motion  pictures"  offered 
for  sale  was  entirely  dissimilar 
from  published  stories  by  the 
same  title  and  therefore  not  an 
infringement. 

Patent  Office  Recognition 

Following  this,  the  United 
States  Patent  Office  has  recently 
recognized  titles  as  legitimate  sub- 
ject matter  for  trade  marks  as  ap- 
plied to  motion  pictures  by  regis- 
tering several  trade  marks  of  this 
class.  That  there  is  commercial 
property  right  in  motion  picture 
films  is  therefore  unquestionable 
and  the  application  of  a  name, 
symbol,  phrase  or  other  mark  of 
distinction  may  he  used  as  the 
basis  for  protecting  a  title  used  in 
connection   with   motion  pictures. 


Solves  problem  which  has 
stumped  industry  for  years 

Trade  Mark  Law's  Object 

It  is  the  primary  object  of  trade 
mark  law  to  prevent  one  man  from 
stealing  away  another's  business 
and  good  will.  Such  is  punishable 
by  damages  and  will  be  enjoined 
by  a  court  of  equity. 

Course   to   Follow 

If  a  producer  of  a  motion  pic- 
ture will  promptly  register  his 
title  as  a  trade  mark  in  the  United 
States  Patent  Office,  he  can  secure 
to  himself  the  right  to  such  title 
to  the  exclusion  of  all  others.  The 
procedure  for  such  registration  is 
more  burdensome  and  technical 
than  the  formality  attending  the 
registration  of  a  copyright,  the 
examination  by  the  government 
being  more  critical  and  attended 
by  a  thorough  search  to  determine 
before  granting,  the  right  of  the 
applicant  to  registration.  Publi- 
cation in  the  Official  Gazette  is 
also  conducted  by  the  government, 
giving  the  public  opportunity  for 
opposing  unfair  registration  be- 
fore granting. 

Federal  Court  Action 

When  finally  granted  the  owner 
or  proprietor  has  right  of  action 
against  all  infringers  in  the  Fed- 
eral courts. 

A  search  of  the  government 
records  made  by  an  attorney  espe- 
cially familiar  with  such  matters 
can  he  made  to  determine  whether 
any  question  might  arise  as  to  the 
free  use  and  appropriation  of  a 
desired  title  before  adoption. 
After  such  search  is  made  and  the 
"title"  found  to  be  clear,  applica- 
tion for  registration  should  be 
tiled  and  when  registered  the  title 
should  hear  the  notice  "U.  S. 
Trade  .Mark  Registered."  The  ex- 
pense of  registration  is  small  as 
compared  with  the  amount  in- 
volved in  most  productions  and  it 
would  seem  evident  that  this 
measure  of  protection  should  ap- 
peal to  producers.  In  a  some- 
what similar  manner,  registration 
of  trade  marks  can  he  secured  in 
nearly  all  foreign  countries  and 
here  again  protection  of  this  char- 
acter is  desirable  to  prevent  the 
unauthorized  appropriation  of  the 
rightful  owner's  title. 


February,  1924 


AMERICAN     CINEM ATOGR APHER 


Nine 


"Fade  Out  and 
Slowly  Fade  In" 


By 
Uictor  Milner,  A.  S.  C. 


Sixth  Installment  wherein  A.  S.  C. 
veteran  covers  Vera  Cruz  and 
shoots  the  King  of  England 


At  the  Water-works  Vera  Cruz,   Mexico,  After  Several    Miles  of  Double  Quick 
and   Hand  Car   Ridino, 


Returning  to  Denver  from  Trinidad,  Colo.,  after 
an  adventurous  week  of  bullet  dodging  among  the 
coal  mine  strikers  and  imported  gunmen,  I  was 
greeted  at  the  Brown  Palace  Hotel  in  the  former 
city  with  a  telegram  about  ten  years  ago  that  in- 
structed me  to  leave  for  Galveston,  Texas,  at  once, 
to  cover  the  embarkation  of  the  American  troops  for 
Vera  Cruz  which  at  that  time,  just  as  at  the  present, 
was  the  seat  of  considerable  trouble  in  Mexican 
affairs. 

I  thought  that  nay  return  to  Denver  would  enable 
me  lo  get  in  a  period  of  rest  after  the  days  of  uncer- 
tainty that  had  been  forced  on  me  at  Trinidad.  The 
scenes  which  transpired  there  were  anything  but  a 
credit  to  American  civilization,  and  so  cordial  were 
the  various  elements  in  the  town  toward  newspaper- 
men and  photographers  that  none  of  us  regarded  it 
as  particularly  healthful  to  be  seen  on  the  streets 
after  dark. 


The  Nose  for  News 

My  stay  in  Trinidad  was  interrupted  by  a  hurried 
trip  down  into  New  Mexico  on  which  I  embarked 
when  I  discovered  that  my  friend.  Bill  Shepard,  of 
the  United  Press,  had  mysteriously  left  town.  Any- 
thing- which  would  take  Pill  out  of  Trinidad  at  that 
time  must  have  been  important  so  I  began  to  cast 
around  for  the  reason  for  his  leaving.  Put  Shepard, 
able  newspaperman  that  he  is,  left  no  tracks  behind 
liim  and  I  had  to  do  my  own  Sherlock  Holmes  work. 
Gradually — it  was  only  a  matter  of  a  few  hours — I 
got  wind  of  a  terrible  mine  disaster  that  was  sup- 
posed to  have  happened  down  in  New  Mexico,  so  I 
took  the  first  train  out  of  Trinidad,  and  after  a 
sleepless  night  in  an  upper  berth  of  a  tourist  Pull- 
man, I  arrived  early  the  next  morning  near  the  prop- 
erty of  the  Phelps  Dodge  mine. 

(Continued  on  Page  13) 


Ten  AMERICAN     CINEMATOGRAPHER  February,  1924 

gill! IBilllillllllllllllll IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIUIIIIIIIIIII ■Illinillllllll Illllllllillllllllllllllllllllllllll IIIIIIMIIIIi Ill IlllllllllllllI Illllllllllllill IIIIK 

^l  QC     LClitOrS      VxOrrier  —conducted  bu  Foster  Qoss 


Word  comes  from  New  York  that  one  of  the  largest  motion  picture 
theatres  in  that  city  has  adopted  the  practice  of  cutting  cinematographers' 
credit  titles  from  the  films  which  it  exhibits. 

Such  a  backward  step  is  to  be  deplored.  It  has  been  a  difficult  matter 
for  the  cinematographer  to  educate  the  producer  to  the  point  where  the  latter 
was  willing  to  recognize  cinematography  to  the  extent  of  crediting  the  man 
responsible  for  the  camera  work.  Now  that  it  has  become  the  practice  rather 
than  the  exception  for  the  producer  to  carry  the  name  of  the  cinematographer 
among  the  other  credit  titles,  it  is  indeed  a  blow  to  the  camera  artist  to  have 
some  prominent  exhibitor,  who  stands  in  the  fore  rank  of  his  calling,  to  take 
arbitrary  means  to  prevent  the  public  from  learning  of  that  credit. 

If  the  cinematographer  is  robbed  of  public  attention  in  big  cities  like 
New  York  and  Los  Angeles  what  can  be  expected,  one  cinematographer 
rightfully  asks,  when  the  prints  reach  the  one-night  stands? 

At  this  juncture  it  is  not  a  matter  of  discussion  as  to  the  propriety  of  the 
exhibitor's — notwithstanding  how  much  his  screen  may  be  sought  by  the 
producer — of  the  exhibitor's  hacking  out  scenes  or  even  credit  titles  from  the 
pictures  which  he  shows.  What  may  be  questioned,  however,  is  the  justice 
of  such  action  on  the  part  of  the  exhibitor.  How  would  he  feel  if  someone 
took  means  to  eliminate  his  name  in  connection  with  the  theatre  that  he 
operates?  While  it  may  be  realized  that  a  timid  exchange  manager  may 
hesitate  to  protest  to  the  big  theatre  exhibitor  against  the  amputation  of  the 
prints  which  the  exchange  distributes,  not  only  to  the  important  first-run 
theatres,  but  to  countless  smaller  houses,  still  a  realization  of  the  facts  does 
not  eliminate  the  difficulty. 

As  was  pointed  out  some  time  ago  in  the  American  Cinematographer, 
a  general  passing  of  the  buck  arises  whenever  some  one  takes  the  time  to 
endeavor  to  ascertain  where  the  trouble  lies  when  credit  titles  are  cut  out. 
The  exhibitor  may  say  that  the  film  comes  from  the  exchange  minus  the  title 
strips,  but  investigation  usually  reveals  that  it  left  the  exchange  intact  only 
to  be  subjected  to  operation  when  it  reached  its  place  of  exhibition. 

The  perpetration  does  not  end  when  the  print  leaves  the  large  first-run 
house,  but,  in  many  cases,  the  print  must  live  through  the  rest  of  its  celluloid 
life  without  the  titles  inasmuch  as  the  exhibitor  who  has  taken  the  trouble  to 
have  them  removed  forgets  about  having  them  replaced. 

Of  course  it  may  be  granted   that  the  theatre  manager  may   advance 


February,  1924  AMERICAN     CINEMATOGRAPHER  Eleven 

KMIIIIBIIIIIIIIIIIIIIMIIIIIIIIIIIIIU 


various  arguments  as  to  why  he  cuts  the  titles,  but  none  of  them  will  stand 
the  test  of  sound  reasoning.  The  principal  excuse  is  that  the  program  must 
be  reeled  off  "like  clock-work,"  etc.,  etc.,  but  it  requires  a  distant  gallop  of 
the  imagination  to  comprehend  the  many  half-hours  lost  each  day  due  to  the 
showing  of  titles  a  few  seconds  in  length. 


"Speaking  of  Miss  Taylor,  King  Vidor,  under  contract 
with  the  Goldv/yn  company,  has  been  loaned  to  Metro  again 
for  Miss  Taylor.  It  will  be  remembered  it  was  Mr.  Vidor's 
camera  methods  that  made  her  look  like  a  eirl  of  16  in 
'Peg  o'  My  Heart'  and  had  every  motion  picture  star  over 
25  paging  him  to  find  out  how  it  was  done." 

The  above  paragraph  appeared  recently  in  Louella  Parsons'  depart- 
ment of  the  Los  Angeles  Examiner.  While  this  publication  has  every  respect 
for  the  position  which  Miss  Parsons  possesses  in  the  field  of  dramatic  editors, 
as  well  as  for  King  Vidor's  knowledge  of  the  camera  together  with  his  direc- 
torial ability,  it  believes  that,  in  the  interest  of  veracity,  attention  should  be 
called  to  the  fact  that  George  Barnes,  a  member  of  the  American  Society  of 
Cinematographers,  who  is  not  mentioned  by  Miss  Parsons,  is  responsible  for 
the  "camera  methods"  praised  by  the  critic. 

Moreover,  the  American  Cinematographer  wishes  to  thank  Miss  Par- 
sons, able  newspaperwoman  that  she  is  recognized  to  be,  for  the  interest  that 
she  takes  in  photography.  A  few  years  ago  such  interest  was  not  manifested 
generally  even  in  the  largest  newspapers  in  the  country. 

But  the  condition  still  exists  that  in  some  quarters  where  recognition  is 
extended  to  camera  work  at  all,  it  is  ascribed  to  any  one  but  the  cinema- 
tographer. It  is  now  a  settled  fact,  with  photography  having  made  the  prog- 
ress that  it  has,  that  the  cinematographer  deserves  to  be  recognized  in  his 
own  right — and  his  own  right  is  not  that  of  his  employer  or  even  that  of  his 
director. 

To  crown  another  person  with  the  laurels  that  the  cinematographer  has 
worked  years  to  achieve  is  directly  in  line  with  the  practice  of  an  editor  hav- 
ing one  of  his  attaches  write  his  material  and  then  put  his  own  name  over  it. 
Surely  a  name  like  that  of  Miss  Parson's  would  deserve  to  be  recognized  in 
its  own  prominence,  and  not  hidden  behind  that  of  the  editor-in-chief  of  the 
paper  in  which  it  should  appear.     So  it  is  with  the  cinematographer. 


Illllllg 


Twelve 


AMERICAN     CINEM  ATOGR  APHER 


February,  1924 


Problems   in    ^Motion    Picture   Laboratories 


Formulae  and  film  splic- 
ing information  are  given 
for    practical    use 


By  M.   Briefer 


Final  Installment,  From 
Transactions,  Society  of 
Motion  Picture  Engineers 


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CilLATl*      Cnuu^i  ON  .  .OQOJ     to. 0001 


I..  I..  CtUULOID  BaU  •  .oof 


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PLATE    ONE 
A — Straight    Scraper — a — 
B — Rounded    Scraper — b — 
C — Cement    Rubbed    On — x — 
D — Cement    Floated   On — y — 


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Since  the  procedure  under  this  heading  is  of  con- 
siderable importance  to  the  finished  product,  we 
have  chosen  to  close  this  presentation  with  some 
notes  on  splices  and  cements. 

The  dangers  incident  to  defective  splices  in  nega- 
tives has  already  been  indicated  and  mention  has 
been  made  of  splices  out  of  line.  By  the  latter  we 
mean,  there  is  a  slight  angle  at  the  splice  enough 
to  cause  the  claws  of  the  projector  to  exert  an  un- 
equal pull  against  the  perforations.  Eventually 
there  will  be  a  break  above  or  below  the  splice. 
From  this  type  of  break  you  have  the  expression 
"The  splice  is  stronger  than  the  stock"  which  is  only 
another  case  of  misunderstanding. 

The  mechanical  part  of  good  splicing  is  a  matter 
of  intelligent  training,  care  and  experience.  Coin- 
pounding  a  cement  to  hold  the  splice  is  a  separate 
problem  altogether.  Splicing  cements  frequently 
give  a  great  deal  of  trouble.  You  have  heard  the 
complaint  of  their  erratic  behavior,  doing  very  well 
some  days  and  failing  to  hold  at  other  times.  Many 
cements  contain  acetone  but  as  this  substance  ab- 
sorbs water  readily  it  is  clear  that  on  humid  days 
or  in  an  atmosphere  containing  too  much  moisture 
the  cement  may  fail  to  hold  the  splice.  On  the  other 
hand,  very  dry  warm  air  will  cause  rapid  evapora- 
tion of  the  solvents  and  the  splice  will  be  weak. 

Manufacturers  of  celluloid  base  for  photographic 
purposes  will  recall  that  the  residual  moisture  in 
the  skin  had  been  for  a  long  time  the  unsuspected 
cause  of  frilling,  that  is,  failure  of  the  substratum 
to  act  as  an  effective  binder  between  the  celluloid 
and  the  gelatin  emulsion.  Water,  either  as  an  im- 
purity or  absorbed  by  the  solvents  used  for  "sub- 
bing" had  the  same  bad  effect  upon  adhesion.  The 
factors  in  these  relations  are,  time  of  drying  or 
speed  of  the  casting  machines,  the  temperature  and 


condition  of  the  drying  air.  Other  factors  relative 
to  substratum  come  into  consideration  with  which 
however  we  are  not  immediately  concerned. 

Now,  the  factors  relative  to  splicing  cements  are 
fairly  similar  and  applicable  in  principle.  A  com- 
pound solvent  will  give  the  best  average  results; 
that  is,  a  mixture  of  two  or  three  solvents  of  cellu- 
loid having  boiling  points  which  differ  within  a  rea- 
sonable range  and  one  of  these  should  be  a  solvent 
of  gelatin  as  well ;  the  purpose  of  the  latter  is,  to 
take  care  of  any  gelatin  remaining  on  the  edge  to 
be  spliced  or  such  as  may  be  picked  up  as  shavings. 
Solvents  used  in  compounding  cements  should  be 
dry,  or  free  of  water,  and  the  cement  when  made 
protected  against  moisture.  Three  formulae  are 
given  below;  any  one  of  these  we  believe,  will  fulfill 
the  specified  requirements. 

FORMULA  1 

32       ozs.  Denatured  Alcohol  1-liter 

32      ozs.  Ether   (ethyl)  l-liter 

32      ozs.  Aniyl  Acetate  1-liter 

6V2  ozs.  Acetic  Acid   (glacial)  200  mils,  (c.c) 

Notes:  Solutions  containing  ether  are  to  be  pro- 
tected from  light  and  heat  and  ample  air  space 
allowed  in  the  container.  Make  up  the  above  solu- 
tion in  a  4  liter  ( one  gallon )  amber  colored  bottle 
well  stoppered. 

The  acid  may  be  omitted  but  the  splicing  will  re- 
quire more  care. 

A  splice  made  with  this  cement  cannot  be  pulled 
apart  if  the  mechanical  work  has  been  properly 
done.  The  correct  method  of  making  a  splice  will 
be  indicated  later. 

(Continued  on  Page  19) 


February,  1924 


AMERICAN     CINEMA TOGRAPHER 


Thirteen 


A.  S.  C.    Buys    cHerw    Hollywood   Offices 


New  location  to  be  in  Southern 
California's  finest  building.  In 
Heart  of   Hollywood 


Major  unit  of  top  floor  to  be 
occupied  by  cinematographers. 
Mark  of   Progress 


Signalizing  five  years  of  progress  and  achievement,  t lie  American  Society  of  Cinematographers  an- 
nounces that  it  has  bought  its  own  offices  in  the  new  Guaranty  Building,  now  in  the  course  of  construc- 
tion in  the  heart  of  Hollywood  at  Hollywood  Boulevard  and  Ivar  Avenue. 


The  new  A.  S.  C.  headquarters  will  occupy  a 
major  unit  on  the  top  floor  of  the  building  which 
will  be  one  of  the  most  modern  and  elaborately  con- 
structed in  the  Southwest.  In  addition  to  becoming 
the  owners  outright  of  their  particular  unit  on  the 
top  floor  of  the  building,  the  Society  will  be  pro  rata 
owners  in  the  fee  interest  in  the  ground  on  which 
the  building  stands.  Located  as  it  is  in  the  center 
of  the  motion  picture  capital  of  the  world  and  on 
Hollywood's  main  thoroughfare,  this  ground  repre- 
sents some  of  the  most  valuable  frontage  in  the 
United  States  and  is  steadily  increasing  in  value. 

Among  Foremost 
Specifications  of  the  building  which  will  be  the 
future  home  of  American  Society  of  Cinematogra- 
phers reveal  that  it  will  have  no  peer  in  Hie  entire 
country.  Being  erected  on  the  "own  your  own 
office"  plan  which  is  proving  so  successful  in  South- 
ern California,  the  structure,  architects  and  engi- 
neers declare,  is  destined  to  become  one  of  the  show- 
places  of  Hollywood  and  Los  Angeles,  already  noted 
for  their  magnificence  of  buildings. 

Offices  in  Mahogany 

The  structure  will  be  constructed  to  the  story 
height  limit  in  Los  Angeles — twelve  stories.  It  will 
be  of  (Mass  "A"  reinforced  concrete  fireproof  con- 
struction. The  exterior  will  be  of  terracotta  and 
brick.  The  various  offices  will  be  finished  in  mahog- 
any. Plate  glass  and  solid  brass  hardware  will  be 
used  throughout  the  edifice. 

Marble  Walls 
The  public  corridors  will  have  Terraza  floors  with 

Alaskan  marble  borders  and  base,  with  mahogany 
trim.  The  main  lobby  of  the  first  floor  will  have 
Tennessee  marble  flooring  and  walls.  The  main  en- 
trance to  the  building  will  be  a  masterful  creation 
of  bronze. 

Far-Reaching  View 
The  location  of  the  A.  s.  c.  headquarters  will  be 
the  most  ideal  in  the  entire  building,  itself  ideally 
situated.  They  will  command  a  view  of  the  hills  of 
Hollywood  as  well  as  a  sweeping  vista  of  East 
Hollywood,  and,  beyond  that,  Los  Angeles,  and  still 
farther  in  the  distance,  on  clear  days,  the  port  of 
San  Pedro  and  the  Pacific. 

Temporary  Offices  at  E.  I.  E.  S. 
Work  on  the  Guaranty  Building  is  already  well 
under  way  and  it  is  expected  that  the  American 
Society  of  Cinematographers  will  be  able  to  move 
into  the  new  quarters  in  September.  The  tenancy 
of  the  A.  S.  C.  expiring  on  February  1st.  at  its  pies 
ent  location,  the  Society  will  temporarily  establish 
quarters,  until  the  opening  of  the  Guaranty  Build- 


ing, at  the  offices  of  the  Electrical  Illuminating  En- 
gineers Society  who,  with  their  characteristic  hospi- 
tality and  good  fellowship  for  which  they  have 
always  been  noted,  have  extended  the  cinematogra- 
phers the  use  of  their  club-rooms  at  1103  N.  LI 
Centro  Street,  near  Santa  Monica  Boulevard,  Holly- 
wood. 

The  A.  S.  C.  meetings  will  be  held  and  all  business 
of  the  Society,  as  well  as  that  of  the  American  Cine 
niatographer,  will  be  transacted  at  the  El  Centro 
address;  and  all  communications  should  be  ad- 
dressed there  until  the  opening  of  the  new  Guaranty 
Building. 


"Fade  Out  and  Slovulu  Fade  In" 

(Continued  from  Page  ft) 

I  was  in  time  to  film  rescue  workers  removing 
bodies  from  the  charred  interior.  And,  true  to  my 
deductions,  I  found  Bill  Shepard  there.  When  he 
saw  me,  he  looked  as  if  he  thought  that  I  had  drop- 
ped from  the  sky.  The  first  thing  he  asked  was  "how 
the  did  you  get  here?"  and  then  went  on  to  ex- 
plain that  he  had  to  leave  Trinidad  hurriedly,  that 
lie  couldn't  find  me  when  he  was  ready  to  leave  or 
he  would  have  tipped  me  off.  It  was  our  custom  to 
work  together  While  we  were  at  Trinidad. 

Local  Powers  Resented  Camera 

I  had  only  been  at  the  mine  a  few  hours  when 
Shepard  told  me  that  the  powers  of  (hat  locality 
had  become  apprised  of  the  fact  that  some  one  was 
there  with  a  motion  picture  camera  and  that  they 
did  not  like  the  idea  of  my  presence  at  all.  He  ad- 
vised me  to  vamoose,  ami.  respecting  his  advice  I 
did;  I  vamoosed  forthwith  in  a  rented  flivver.  As 
I  left  the  mine  behind,  with  a  film  record  of  the  dis 
aster  in  the  machine,  1  began  to  arrive  at  a  few  con- 
clusions and  when  1  reached  a  little  town  near  Ka- 
toon  Pass  I  proceeded  to  carry  those  conclusions 
into  effect.  I  took  my  can  of  film  and  addressed  it 
personally  to  .Mr.  Franconi,  at  No.  1  Congress 
street,  Jersey  City.  N.  -I.  I  wanted  film  to  go  with 
as  few  indications  as  possible  that  it  was  film. 
Scarcely  had  1  safely  deposited  the  can  in  the  ex- 
press office,  when  it  became  evident  that  my  con- 
clusions had  been  correct.  As  I  was  driving  away 
I  was  overtaken  by  a  high-powered  automobile  hear- 
ing New  Mexico  license  plates  and  the  driver  there- 
of lost  no  time  in  letting  it  be  known  that  he  meant 
business,  and  meant  it  with  me.  He  demanded  the 
film  that  I  had  taken  of  the  disaster  but  I  told  him 
that  1  had  none.  His  looks  all  but  called  me  the 
short  and  ugly  word  so  I  invited  him  to  search  the 
flivver.  He  did  so,  and,  much  to  his  doubt  and  dis- 
appointment, did  not  find  what  he  was  looking  for. 


Fourteen 


AMERICAN     CINEMATOGRAPHER 


February,  1924 


Whereupon  I  proceeded  unchallenged  back  to 
Trinidad. 

So  von  see  when  I  received  the  wire  at  the  Brown 
Palace  to  go  to  Galveston  it  surely  did  appear  that 
Things  were  l>eing  rushed.  The  telegram  stated 
that  permission  was  being  arranged  through  Secre- 
tary Daniels  for  me  to  sail  on  one  of  the  United 
States  destroyers.  That  night  1  was  on  my  way  to 
Galveston. 

The  Texas  coast  town  was  a  beehive  of  activity 
when  I  arrived  there.  Transports  alongside  the 
wharves — brass  bands — sweethearts — old  mothers- 
Tears — smiles — handkerchiefs — all  that. 

Self-Conscious  Acting 

But  while  everything  seemed  very  realistic  to  me 
as  the  layman  1,  as  the  news  cameraman,  knew  that 
it  would  be  hard  to  get  this  atmosphere  over  in  a 
news  film.  Have  you  ever  noticed,  in  news  films, 
that  when  the  subjects  discover  that  they  are  being 
filmed,  unconsciously  they  begin  To — begin  to  act,  I 
might  say,  with  the  result  that  they  do  appear  as 
they  naturally  would?  So  1  determined  To  Take  The 
situation  in  my  own  hands  To  obtain  some  atmo- 
sphere that  would  appear  as  it  naturally  did. 

I  saw  an  old  lady  standing  in  the  shadow  of  a 
warehouse.  In  a  glance  I  knew  that  she  was  a  rep- 
resentative type,  and  in  a  few  moments  I  was  photo- 
graphing her  weeping  on  The  shoulder  of  her  "only 
son"  as  he  was  about  To  embark  for  war  on  the  U.  S. 
S.  "Kilpatrick."  IT  made  a  great  shoT,  considering 
that  until  a  few  minutes  previous  she  had  never 
seen  her  "son"  before  and,  what  was  more,  she  had 
come  down  to  the  waterfront  merely  as  a  spectator. 
I  carried  the  sequence  through  with  a  close-up  of  her 
shedding  Tears  and  waving  her  handkerchief  at  the 
ship  as  it  pulled  out  in  the  background. 
Permission   Missing 

In  the  meantime  I  had  not  been  able  to  locate  any 
naval  officer  who  had  been  in  receipt  of  orders  from 
the  Navy  Department  permitting  me  to  proceed  to 
Vera  Cruz  with  the  fleet.  I  dashed  about  and  inter- 
viewed the  commanders  of  the  various  destroyers, 
all  of  whom  informed  me  that  they  had  received  no 
such  orders. 

First  Competitors  on  Job 

It  was  getting  to  the  critical  point.  The  trans- 
ports were  leaving,  as  were  my  competitors  of  the 
newly  formed  International  News  Weekly  on  a 
chartered  sea-going  tug.  They  didn't  forget  to  give 
me  the  "razz,"  either,  when,  knowing  of  my  predica- 
ment, they  pulled  out.  So  I  was  left  siTTing  at  The 
Water-front,  discouraged  and  downhearted. 

I  returned  to  the  hotel,  and  telephoned  Western 
Union  which  was  still  without  word  for  me.  I  could 
not  clear  my  mind  of  the  tug  leading  the  fleet  to 
Vera  Cruz,  and  The  thought  TbaT  I  was  going  to  be 
scooped  so  thoroughly  was  not  pleasant  in  the  least. 
In  addition,  I  was  humiliated  by  my  competitors' 
razzing. 

Belated   Authority 

Later  in  The  afternoon,  the  phone  in  my  room 
rang.  The  WesTern  Union  operator  informed  me 
That  my  permission  from  Secretary  Daniels  had 
finally  arrived.    I  hung  up  in  disgust. 

Friend  in  Telegraph  Office 

After  eating  a  late  lunch,  1  returned  to  my  room 


to  pack  up  and  had  already  set  about  doing  so  when 
the  phone  rang  again.  The  lady  in  the  Western 
Union  office,  knowing  of  my  predicament,  told  me 
over  the  wire  that  an  old  cattle  boat  was  clearing 
for  Vera  Cruz  within  the  next  few  minutes. 

Cattle  Boat  Intervenes 

Hardly  pausing  to  hang  the  phone  up,  I  dashed 
downstairs,  jumped  into  a  Taxi  and  was  at  the  dock 
and  talking  to  a  cattle  boat's  skipper  in  short  order. 
I  told  him  that  I  was  a  newspaperman — to  have  de- 
scribed myself  as  a  news  cameraman  would  have 
meant  little  at  that  time — and  made  known  my 
wants.  He  quietly  told  me  that  there  were  no  cabins 
left,  that  they  were  to  leave  for  Vera  Cruz  in  ten 
minutes,  and  that  if  I  could  return  with  my  outfit 
within  ThaT  Time  I  was  welcome  to  what  quarters  I 
could  find  aboard  the  ship. 

I  was  on  my  way  back  to  the  hotel  in  an  instant. 
I  rushed  my  trunk  and  outfit  down  into  the  taxi  in 
the  flash  of  an  eye  and  shot  back  toward  the  dock. 
It  was  raining  hard  and  the  streets  were  very  slip- 
pery. The  driver  heeded  my  instructions  and  "step- 
ped on  it"  with  much  skidding  and  several  close 
escapes  from  collisions. 

Blockaded  by  Freight  Train 

Just  as  we  were  within  sight  of  the  dock,  a  freight 
train  pulled  across  our  path  and  anchored,  block 
ading  The  street.  I  could  see  all  our  skidding  and 
efforts  come  To  nothing.  The  minutes  that  we  were 
stalled  there  seemed  like  years,  but  I  was  able  to 
hurl  my  camera  outfit  aboard  the  boat  and  clamber 
on  myself  just  as  the  bow  was  swinging  out. 
Celebrities  on  Cattle  Boat 

Much  to  my  surprise,  1  found  Jack  London,  his 
wife,  Brown  of  the  Chicago  Daily  News,  and  other 
celebrities  aboard  the  cattle  boat.  The  company 
may  have  been  distinguished,  but  the  surroundings 
surely  were  not.  I  was  able  To  effect  a  deal  with  the 
first  mate  whereby  I  occupied  his  quarters — such 
as  they  were,  with  the  cockroaches  and  other  vermin 
playing  hide  and  seek  while  the  vei'y  decided  aroma 
of  the  cattle  below  permeated  the  atmosphere. 
First  at  Vera  Cruz 

But  we  arrived  in  Vera  Cruz,  and  arrived  there  in 
good  time — time  enough,  in  fact,  for  me  to  have  set 
up  and  to  have  been  photographing  my  Interna- 
tional News  rivals  as  they  came  into  port  on  their 
chartered  Tug.  There  weren't  two  more  surprised 
men  in  Mexico  than  Varges  and  Wallace  of  the 
News  when  they  saw  ThaT  iT  was  I  who  was  Taking 
pictures  of  their  arrival  in  the  Mexican  port.  They 
were  even  more  surprised  than  Bill  Shepard  was 
when  he  met  me  at  the  mine  disaster  in  New  Mexico. 
Incidentally,  since  T  last  saw  ('apt.  Varges,  whom 
1  had  the  honor  of  initiating  into  The  lore  of  The 
cinema  camera,  he  has  represented  International  in 
all  parts  of  the  world,  having  recently  returned  to 
the  Last  from  a  lengthy  journey.  How  different  it 
must  be  in  Vera  Cruz  today  with  several  news  reel 
agencies  being  represented  where  a  decade  ago  only 
a  single  outfit  had  arisen  To  challenge  the  suprem- 
acy which  PaThe  had  esTablished. 

Attack  on  Custom  House 

If  any  of  The  readers  have  a  powerful  enough  mem- 
ory to  recall  the  Pathe  scenes  of  Vera  Cruz  during 

(Continued  on  Page  18) 


February,  1924  AMERICAN     CINEMATOGRAPHER  Fifteen 


There  is  added  assurance  of  favorable  com- 
ment— that  priceless  publicity  that  only  the 
satisfied  audience  can  give — when  the  produc- 
tion is  right  photographically. 


EASTMAN 
POSITIVE  FILM 

Adds   true  photographic  values   to  picture 
interest — carries  quality  from  studio  to  screen. 

Look  for  "Eastman"  and  "Kodak'    in  black 
letters  in  the  film  margin. 


Eastman  Film,  both  regular  and 
tinted  base,  is  available  in  thou- 
sand foot  lengths. 


EASTMAN   KODAK    COMPANY 

ROCHESTER,  N.   Y. 


Sixteen  AMERICAN     CINEMATOGRAPHER  February,   1924 

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Direct  focusing  tube 


Quick  lens  changing  device 

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A  Skushok  Who  Would  Not 
Stay  "Put" 

A  very  amusing  story  is  told 
apropos  of  this  reincarnation. 
When  the  Skushok  of  Tiksv  died 


Photographing  the  Roof  of 
the  IDorld 

(Continued  from  Page  7) 
beautiful  China  silk  while  the 
varied  colored  masks  of  paper- 
mache  exhibited  horrible  concep- 
tions on  the  part  of  their  makers. 
The  dancing  really  consists  of 
keeping  time  to  a  kind  of  wild 
chanting  music  and  as  they 
danced  with  strange  steps  and 
gestures  they  howled  in  strange 
chorus.  Such  figures  are  intended 
to  represent  some  of  the  ugly 
forms  that  meet  the  dead  man's 
soul  while  it  is  in  transit  through 
space  from  this  vale  of  tears  to 
tlie  next  world;  while  the  play 
goes  on  at  intervals  throughout 
three  long  days,  the  people  who 
have  gathered  together  are  sup- 
posed to  obtain  a  certain  amount 
of  religious  merit  from  the  obser- 


vation of  the  ceremonies.  A  Sku- 
shok corresponds  to  a  Bishop  in 
that  he  has  a  number  of  these 
Lamaseries  under  his  direction 
while  the  Skushok  himself  an- 
swers only  to  the  Dalia  Lama  in 
Lhasa. 


A  Most  Holy  Man 

A  Skushok  is  supposed  to  be  the 
nearest  approach  to  Mahatma 
Budda  that  it  is  possible  to  see 
unless  one  could  see  the  (Jrand 
Lama  in  Lhasa  who  is  his  direct 
descendant.  A  Skushok  is  a  resi- 
dent incarnation  who  is  supposed 
to  be  reincarnated  time  after 
time  in  the  same  office  as  head  of 
the  same  Lamaseries  and  he  is 
each  time  located  upon  such  re- 
incarnation by  the  Grand  Lama 
and  returned  to  his  respective 
post. 


and  was  three  times  reincarnated 
in  Lhasa  but  each  time  he  refused 
to  return  to  his  post  in  Tiksv. 
Finally  after  much  persuasion  he 
was  induced  to  return  to  Tiksv 
and  take  up  his  post  as  Skushok ; 
being  a  boy  of  nineteen  his  father 
had  warned  the  Lamas  to  leave 
him  alone  as  he  was  not  worthy 
of  being  a  Skushok.  Nevertheless 
they  took  him  to  Tiksv  where  lie 
resided  in  peace  for  a  short  time 
and  then  proceeded  to  demand  his 
independence  in  the  face  of  com 
parative  luxury  and  power  enjoy 
ed  by  a  Skushok.  He  smashed  the 
temple  idols,  gave  away  many  of 
the   sacred   images   and   wrought 

(Continued  on  Page  23) 


February,  1924 


AMERICAN     CINE  MA  TOG  RAP  HER 


Seventeen 


Wampas  Frolic  in  Frisco 

Described  by  A.S.C.  Member 

Glowing  accounts  are  brought  back  to  Hollywood 
of  the  brilliance  of  the  "Wampas  Frolic,"  staged  by 
the  Western  Motion  Picture  Advertisers  in  San 
Francisco,  Saturday,  January  li>th. 

"Three  special  trains  conveyed  the  Wampas  men- 
bers,  their  stars- and  guests  to  San  Francisco,  arriv- 
ing at  the  Third  Street  station  about  9  :30  a.  m.,  and 
making  the  entrance  on  three  parallel  tracks,  simul- 
taneously, with  sirens  shrieking,"  Gilbert  Warren- 
ton,  A.  S.  C.  member  who  attended  the  event  said  on 
his  return.  "The  party  almost  alighted  into  the 
waiting  arms  of  the  mayor,  Chief  of  Police  O'Brien, 
and  a  committee  from  the  Chamber  of  Commerce. 
Seventy-five  automobiles,  properly  bannered  with 
the  nanies  of  the  celebrities  they  were  to  convey, 
awaited  in  line.  The  bands  were  playing,  and  every- 
one seemed  happy. 

"The  procession,  headed  by  Jackie  Coogan  and 
Pola  Negri,  wended  its  way  to  First  and  Market 
Streets,  thence  up  Market  to  the  Civic  Center  and 
llien  to  the  Palace  Hotel.  Hundreds  of  excited  spec- 
tators lined  the  streets  and  barely  room  for  the  auto- 
mobiles to  pass  was  obtained  throughout  the  entire 
line  of  march.  The  crowd  for  blocks  about  the  de- 
pots was  bad  enough,  but  one  could  scarcely  elbow 
one's  way  into  the  lobby  of  the  Palace,  which  was 
Wampas  Headquarters. 

"A  wonderful  luncheon  was  then  served  by  the 
Down  Town  Association,  at  which  representatives 
of  San  Francisco's  'glad-hand'  committees.  Chief 
O'Brien,  Fred  Niblo  and  others  spoke. 

'In  the  afternoon,"  Warrenton  continued,  "cars 
were  provided  to  furnish  the  visitors  a  thirty  mile 
light-seeing  trip. 

"Then  came  the  ball,  itself,  rivalling  the  most 
magnificent  scenes  of  Oriental  splendor.  It  is  said 
that  twenty  thousand  people  were  in  the  auditorium 
and  so  it  surely  seemed.  Probably  never  before  in 
the  country  has  so  brilliant  an  assemblage  turned 
out  for  any  social  event.  The  building  was  beauti- 
fully decorated  and  lighted.  A  band  of  130  pieces 
provided  the  music  for  dancing  and  for  musical  acts. 
The  program  of  'big  time'  numbers,  interspersed 
with  dancing,  was  probably  the  most  celebrated,  as 
to  personnel,  which  ever  graced  a  platform.  The 
stars  performed  amid  the  wildest  enthusiasm  on  the 
part  of  the  audience. 

"The  appearance  of  Anna  Q.  Nilsson,  who  played 
the  lead  in  our  picture,  'Flowing  Gold,'  was  received 
with  a  tremendous  ovation  when  she  appeared  as 
'flowing  gold,'  in  amber  spots  and  flood  lights  which 
gilded  her  simple  white  moiret  gown. 

"Lillian  Rich,  in  northern  costume,  led  Strong- 
heart  and  his  leading  lady  over  the  keys  of  the  mam- 
moth typewriter.  Pola  Negri  appeared  as  'Mine. 
DuBarry,'  in  the  original  'Passion'  gown.  Bill  Hart, 
in  western  togs;  Ben  Turpin  and  Bennie  Leonard  in 
a  boxing  bout;  the  Loomis  Twins  in  a  skit;  and 
nearly  all  the  other  big  stars  of  Hollywood,  made 
their  appearance  over  the  typewriter,  amid  deafen- 
ing applause. 

"San  Francisco  has  invited  the  Wampas  to  come 
again,  and  say  it  is  a  standing  invitation.  I'm  glad 
I  was  there !" 


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510  S.  Broadway,  Los  Angeles 

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545  Market  Street  San  Francisco 

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us 


Eighteen 


AMERICAN     CINEM ATOGRAPHER 


February,  1924 


(Continued  from  Page  14) 
Uncle  Sam's  occupation  they  may  remember  the 
attack  on  the  custom,  house.  Well,  if  you  promise 
to  keep  it  a  secret  I'll  tell  you  that  the  attack  had 
already  transpired  when  I  arrived  in  Vera  Cruz. 
With  the  aid  of  Ensign  Martin,  of  the  U.  S.  S.  Texas, 
and  necessary  permission  and  troops,  the  attack  was 
reproduced  perfectly — so  perfectly  in  fact  that  our 
very  keen  editor  in  Jersey  City  took  it  for  the  real 
and  original,  and  complimented  me  highly  for  it. 
Which  goes  to  prove  that  the  right  sort  of  direction 
has  its  place  in  news  reels,  too. 

Vera  Cruz  at  the  time  was  a  riot  of  color — gen- 
erals, naval  officers,  beautiful  women.  Richard 
Harding  Davis  was  there,  but  did  not  mix  with  the 
"boys"  as  Jack  London  did.  Martial  law  was  in 
effect.  The  late  General  Fred  Funston  was  in  com- 
mand and  things  gradually  were  returning  to  "nor- 
malcy" under  his  able  command  when,  one  day, 
Avhile  at  lunch  with  my  brother  photographers,  a 
rumor  reached  us  that  the  Mexicans  were  preparing 
for  an  attack  on  the  water-works.  We  went  immedi- 
ately to  Gen.  Funston's  headquarters  and  were  given 
permission  to  accompany  the  troops.  The  soldiers 
were  on  the  way  and  doing  double  time  up  the  nar- 
row guage  railway.  There  was  a  dozen  of  us  with 
cumbersome  outfits  which  were  mostly  Grafiexes  and 
other  still  cameras.  Mine,  with  a  tripod  and  an 
extra  magazine,  was  the  heaviest  of  all,  and  it  was 
not  an  easy  job  to  lug  it  double-time  up-hill  in  trop- 
ical weather.  It  required  a  smarter  man  that  1  to 
suggest  that  we  find  a  hand-car  and  let  it  work  for 
us — and  that  man  was  Jim  O'Hare  of  Collier's 
Weekly.  How  we  did  perspire  pumping  that  hand- 
car. 

Of  course  there  wasn't  any  attack.  Gen.  Funston 
was  a  little  too  fast  for  them.  The  only  attack  that 
I  experienced  was  one  of  "chiggers"  which  required 
a  vaseline  "bath"  in  the  hospital  to  stem  their  on- 
slaught. 

Quarantined  in  Galveston 

We  finally  left  Vera  Cruz  but  my  troubles  were 
not  over.  When  we  arrived  in  the  port  of  Galveston 
we  had  to  remain  aboard  in  quarantine  a  week — 
the  U.  S.  in  sight  all  the  time — before  we  were  per- 
mitted to  land. 

My  next  big  assignment  after  that  in  Vera  Cruz 
was  relayed  to  me  one  day  when  I  was  in  the  Brown 
Palace  Hotel  in  Denver.  The  telegram  was  very 
brief,  instructing  me  to  report  to  New  York  immedi- 
ately to  go  with  the  Giants  and  the  White  Sox  on 
their  tour  around  the  world. 

Around  the  World 

I  had  no  sooner  arrived  in  New  York  when  I 
was  on  my  way,  having  assembled  the  necessary 
paraphernalia,  for  Vancouver,  11  C,  from  which  we 
embarked  on  our  long  trip  which  took  us  through- 
out the  Orient,  Australia,  Japan,  Europe,  until  fi- 
nally Ave  arrived  in  England  to  play  before  King 
George  in  London. 

Nobility  and  masses  alike  turned  out  to  see  the 
Giants  and  the  Sox  play.  Of  course  the  scenes  on 
this  occasion  were  to  be  the  most  important  on  the 
trip.  On  the  morning  of  the  game  I  went  out  to 
look  the  grounds  over  in  the  company  of  McGraw, 
Germany  Schaeffer  and  Tris  Speaker.  We  found 
them   placing  a  wire  net  before  the  box  which  the 


king  was  to  occupy  so  that  he  would  be  protected 
from  foul  balls. 

Right  Before  the  King 

As  soft  focus  photography  was  not  in  vogue  ten 
years  ago,  I  decided  not  to  shoot  through  the  net 
but  determined  to  have  a  platform  built  inside  the 
net  and  set  up  so  that  I  could  photograph  the  king 
in  his  direct  line  of  vision.  And  you  should  have 
seen  the  platform  that  the  navvies  built.  They  used 
(Continued  on  Page  24) 


Filmirigl Ladybirds  Under  the  microscope 

(Continued  from  Page  4) 

ups  and  incidentally  to  reveal  to  a  curious  world 
what  a  curious  creature  the  ladybug  has  the  distinc- 
tion to  be  that  it  can  find  such  a  place  that  hitherto 
has  escaped  the  ken  of  travelers. 

One  day  was  spent  in  getting  the  apparatus  to- 
gether, the  cameras  set  in  the  best  possible  posi- 
tions. The  trip  was  too  hard  to  permit  the  taking 
of  lighting  equipment  or  even  of  reflectors.  The 
next  day,  at  almost  noon,  precisely,  the  shooting  of 
the  lady-bugs  began  and  continued  for  just  forty 
minutes,  when  the  sun  sank  behind  the  high  western 
wall  of  the  canyon  and  called  it  a  day! 

But  for  his  laboratory  purposes,  Mr.  Tolhurst 
brought  back  a  sack  containing  250,000  of  the  in] 
sects — according  to  Mr.  Hatcher's  trained  eye — and 
these  he  now  has  enjoying  the  comfort  of  the  labora- 
tory where  everything  possible  is  being  done  for 
their  comfort  and  content.  No  birds  appear  to  de- 
vour them  and  their  ancient  and  hereditary  enemy, 
the  ant,  does  not  break  through  to  carry  on  the  feud 
which  if  it  could  only  be  allayed  would  be  of  ines- 
timable service  to  agriculturalistsJfor  the  ant  pro- 
tects the  kind  of  aphis  which  the  ladybug  devours 
and  the  ant  is  very  fond  of  the  larvae  of  the  lady- 
bird which  it  eats  as  soon  as  possible  after  it  has 
been  hatched. 

Here  in  the  laboratory  on  twigs  and  boughs  taken 
from  the  high  canyon  home  of  the  wintering  lady- 
bugs,  and  in  soil  dug  from  the  place,  Mr.  Tolhurst 
is  making  his  microscopic  studies  of  the  life  of  the 
lady-bug  during  the  period  of  its  annual  sleep  and 
from  which  it  will  awaken  onh'  to  begin  another 
generation  of  ladybugs,  after  which  biological  duty 
it  will  lay  down  and  die! 

The  ground,  provided  by  Mr.  Tolhurst  in  a  room 
adjoining  his  laboratory,  is  filled  with  shrubbery 
brought  from  the  mountain  home  of  the  ladybug.  A 
little  sunlight  is  admitted  each  day  and  during  that 
period,  the  insects  awaken  from  their  torpor  and! 
move  about  in  their  multitudinous  number  taking 
their  places  on  the  shrubbery  till  the  cold  calls  them 
back  to  their  infinite  companionship  and  sleep. 

During  the  winter  in  their  regular  home  they 
freeze  solid  at  night;  but  this  is  trying  on  their  con-l 
stitutions  and  only  the  very  fittest  survive.  Mr. 
Tolhurst  believes  that  with  the  care  his  specimens, 
are  receiving  in  their  new  caravansery,  the  death 
rate  will  be  materially  reduced,  for  while  they  re-J 
quire  cold  for  their  hibernation,  they  do  not  require] 
too  much  cold.  Yet  they  are  forced  into  choice  on 
such  places  because  while  the  cold  kills  a  great  many 
of  them  it  keeps  all  warring  insects  away  entirely. 

But  how  do  they  find  their  way  to  these  inacces-j 
sible  spots?      What    guides    them?      What    impels 


)ruary,  1924 


AMERICAN     CINEMATOGRAPHER  Nineteen 

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them?  No  ladybug  that  goes  there  has  ever  been 
there  before,  for  only  the  generation  that  survives 
:he  fall— and  that  is  the  third  of  the  year — seeks  the 
printer  home  and  after  the  long  sleep  will  die  as  soon 
is  the  business  of  reproduction  has  been  attended 
to.  Yet  each  year  these  insects,  utter  strangers  to 
:he  spot,  find  their  way  in  swarms,  according  to 
Calvin  Hatcher  who  found  them  there  several  years 
igo  and  conceived  the  idea  of  commercializing  his 
Knowledge  of  their  habits.  Remember  too  that  all 
scientists  agree  that  though  the  insect  is  provided 
vith  eyes  of  extraordinary  complications  and  mar- 
velous adjustment,  no  insect  can  see  clearly  for  a 
listance  of  more  than  six  or  eight  feet!  Yet  they 
ravel  miles  and  miles  from  pleasant  orchard  levels 
o  forbidding  mountain  heights  and  find  unerringly 
he  spot  best  suited  to  the  survival  of  the  greatest 
wssible  number! 

Perhaps  in  the  course  of  his  inquiries  into  their 
structure,  Mr.  Tolhurst  will  hit  upon  the  secret 
vhich  has,  till  now,  remained  one  of  the  deepest  of 
ill  those  mysteries  which  are  wrapped  up  in  the  se- 
:rets  of  life. 

In  any  event  it  ought  to  be  gratifying  information 
:o  experimenters  generally  in  the  field  of  cinema- 
ography  to  know  that  the  screen  is  being  enriched 
>y  such  inquiries  and  enlivened  by  such  disclosures 
is  are  resulting  from  Sol  Lessers  enterprise  in  pre- 
senting to  motion  picture  lovers,  the  "secrets  of 
ife"  as  they  are  uncovered  by  Louis  H.  Tolhurst. 


■1 
Problems  in  Motion  Picture  Laboratories 

(Continued  from  Page  12) 
U.  S.  Government  Special  Denatured  Alcohol  No. 
19  which  is  composed  of  equal  parts  grain  alcohol 
and  ether  may  be  used  to  replace  the  first  two  for- 
mula items.     Replace  with  two  liters  (04  ozs.). 

FORMULA  2 

96       ozs.  Acetone    (pure)  3-liters 

6%  ozs.  Chloroform  200-mils.  (c.c) 

2  2-3  ozs.  Acetie  Acid  (glacial)    80-mils.   (c.c) 

Notes:  The  solution  may  be  put  up  in  a  4  liter 
(one  gallon)  bottle.  Formulae  1  and  2  are  clean 
working  and  may  be  used  for  either  negatives  or 
positives. 

FORMULA  3 
1V2  ozs.  (a)  Acetic  Acid  (glacial)      225  mils,  (c.c.) 
90      grains  Celluloid  6  grams 

96      ozs.  (b)   Acetone  pure  3  liters 

6%  ozs.  Chloroform  200  mils,  (c.c.) 

For  the  celluloid,  motion  picture  stock  may  be 
used.  The  gelatin  is  completely  removed  in  hot 
water,  washed  clean  and  wiped  dry.  A  quantity 
should  be  prepared  at  one  washing  and  hung  up  in 
suitable  lengths  to  dry. 

The  required  weight  of  celluloid  is  put  into  a  half 
liter  flask  and  covered  with  the  acetic  acid.  Do  not 
cut  the  celluloid  in  small  strips.  Crush  it  in  the 
hand ;  it  will  dissolve  more  readily.  Shake  the  flask 
with  a  rotary  motion  until  the  celluloid  has  softened 
to  a  jelly  like  mass.  Nearly  fill  the  flask  with  some 
of  the  solution  "b,"  stir  to  complete  solution  and 
add  to  the  bulk  of  solution  "b." 


Twenty 


AMERICAN     CINEM  ATOGR  APHER 


February,  1924 


For  easier  mixing  allow  the  acid  to  act  upon  the 
celluloid  over  night.  Keep  the  cement  in  a  cool, 
dry  place  and  well  stoppered. 

Notes :  The  excess  cement  used  in  splicing  dries 
up  leaving  the  celluloid  behind;  this  must  be  re- 
moved frequently.  Should  the  celluloid  collect  on 
the  clamp  the  scraper  may  not  function  properly. 
A  mistake  often  made  is  to  reset  the  scraper  knife 
for  a  deeper  cut  when  to  clean  the  clamp  is  all  that 
is  necessary.  Bearing  in  mind  the  need  for  frequent 
cleaning  of  the  machine  the  celluloid  in  the  formula 
may  be  increased  up  to  18  grams  with  good  results. 

This  cement  will  serve  for  both  regular  cinemato- 
graph and  "safety"  or  non-inflammable  film  but  is 
not  so  well  suited  for  negative  splicing  as  formulae 
1  and  2. 

In  order  to  better  understand  the  treatment  of 
the  subject  illustrated  on  plate  one  we  will  give  a 
brief  description  of  the  manner  in  which  these  ce- 
ments perform. 

When  applied  to  the  scraped  section  of  the  splice 
the  cement  softens  and  dissolves  some  of  the  cellu- 
loid base  while  the  acetic  acid  also  softens  traces  of 
gelatin  which  may  be  present.  Acetone  and  chloro- 
form evaporate  at  comparatively  low  temperatures. 
Acetic  acid  and  amy]  acetate  require  much  higher 
temperatures  for  evaporation.  The  boiling  points 
of  the  separate  ingredients  are: 

BOILING   POINTS   IN   DEGREES   CENTIGRADE 


Ml' 


illllllllllllllllillllllllllllllllM  ||gg| 


Acetone 

56.50 

Chloroform 

61.20 

Ether  (ethyl) 

34.97 

Alcohol     (ethyl) 

78.40 

Amyl    Acetete 

148.00 

Acetic   Acid 

118.00 

When  these  ingredients  are  mixed  the  boiling  point 
of  the  compound  solution  is  different  from  that  of 
any  of  its  component  parts,  nevertheless,  the  low 
boilers  will  generally  pass  away  from  the  solution 
more  rapidly  so  that  the  first  portions  driven  off  are 
richer  in  the  more  volatile  constituents.  Thus  it  is, 
that  when  the  low  boilers  have  evaporated  there 
still  remain  the  high  boiler  constituents  of  the  ce- 
ment which,  by  virtue,  of  their  smaller  quantity 
have  a  relatively  higher  concentration  of  celluloid, 
forming  a  thick  gummy  cement  in  the  splice.  To 
all  appearances  the  cement  dries  rapidly  but  in  fact 
the  celluloid  dissolved  from  the  stock  or  that  intro- 
duced in  the  compound  remains  soft  for  some  time 
after  the  splice  is  completed.  It  is  this  compara- 
tively slow  drying  which  prevents  shrinkage  and 
secures  the  splice. 

The  Splice 
It  must  be  evident  from  the  foregoing,  that  the 
rate  of  drying  will  depend  upon  the  proportion  of 
high  and  low  boilers  in  the  mixture  and  that  this 
rate  may  be  controlled  by  varying  the  proportion. 
Formula  No.  2  for  example,  will  dry  more  rapidly 
than  either  formula  No.  1  or  No.  :>.  New  stock  may 
be  spliced  with  a  fast  drying  cement.  There  is  some 
danger  of  shrinkage  and  curl  from  the  heat  of  the 
projector  hut  for  negative  splicing  this  objection 
does  not  hold.  The  slower  drying  cements  will  do 
much  better  on  old  stock.  Formula  No.  1  has  the 
best  average  composition  for  all  work. 


|       Ultra  Rapid       ( 
(      Ana  st  ig  mat       ( 

I  Bausch  &  Lomb  Optical  Co.  j 

ROCHESTER,   N.  Y 

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February,  1924 


AMERICAN     CINEM ATOGRAPHER 


Twenty-one 


The  best  cement  in  the  world  will  fail  if  the  me- 
chanical part  of  the  work  is  faulty  while  any  good 
solvent  of  celluloid  will  answer  when  the  mechanical 
operations  are  correct. 

We  must  assume  that  the  splicing  machine  is  in 
good  order,  the  alignment  correct,  pressure  ample 
and  the  parts  clean.  We  may  now  examine  Plate 
One.  tig.  A  and  B.  These  represent  an  end  view  of 
a  strip  of  motion  picture  film  greatly  enlarged.  Fig. 
A  at  the  top  shows  the  gelatin  removed  with  the 
straight  edge  scraper  in  common  use  which  leaves 
a  sharp  corner  at  "a."  This  is  a  weak  spot  which 
tfter  one  or  two  projections  may  develop  a  crack 
in  the  celluloid  as  shown  in  the  figure. 

Fig.  B  illustrates  the  appearance  of  the  section 
scraped  with  a  knife  the  left  hand  corner  of  which 
has  been  slightly  rounded  off.  This  simple  expedi- 
ent greatly  strengthens  the  splice. 

Figs.  C  and  I)  require  a  word  of  explanation. 
When  the  gelatin  is  scraped  from  the  film  there  is 

left  a  rough  surface  of  celluloid  which  is  exposed 
to  the  action  of  the  cement.  A  thin  layer  of  this 
celluloid  is  quickly  dissolved.  If  the  cement  is 
brushed  on  with  a  rubbing  action,  as  when  applying 
paint,  to  any  surface,  then  the  dissolved  celluloid  is 
intimately  mixed  with  the  solvent  the  latter  thereby 
becoming  practically  saturated  with  celluloid.  In 
this  condition  the  cement  has  lost  its  effectiveness; 
first,  because  of  this  concentration,  the  cement  can 
not  soften  the  upper  part  of  the  section  to  be  spliced 
and  secondly,  the  air  cannot  be  squeezed  out  with 
the  pressure  plate.  A  splice  with  air  bells  in  it  can- 
not hold  together.  Fig.  C  at  "x"  shows  the  appear- 
ance of  the  cement  when  rubbed  on,  the  shaded  area 
represents  dissolved  celluloid. 

Fig.  1)  at  "y"  shows  the  appearance  of  the  cement 
Boated  on.  The  procedure  of  '•floating"  as  we  term 
it.  consists  of  oik-  stroke  of  the  brush  allowing  only 
the  tip  to  touch  the  film.  A  small  ribbon  of  cement 
is  thus  flowed  on  which  assumes  the  convex  form 
as  shown.  In  this  condition  the  softened  layer  of 
celluloid  remains  undisturbed  while  some  of  the  sol- 
vent is  fiee  to  act  upon  the  other  end  to  be  spliced. 
When  the  clamp  is  brought  down,  the  air  is  com- 
pletely expelled  leaving  a  clean  well  made  splice. 
Some  of  the  more  important  considerations  relative 
to  splicing  are  given  below. 

Rapid  evaporation  of  cement  induced  by: 
1 — Splicing  machine  too  hot. 

2 — Air  blowing  across  the  work  from,  (a  i  An  open 
window,  i  b  i  an  electric  fan. 

:! — Room   too  warm. 

4 — Machine  operator  too  slow. 

The  pressure  plate  must  be  brought  down  imme- 
diately after  applying  cement. 

5 — Not  enough  cement  applied. 
The  brush  should  hold  enough  to  run  off  in  a  thin 
ribbon  with  one  stroke. 

6 — Cement  unduly  exposed  to  air. 

(Ccntinued  on  Page  22; 


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Twenty-two 


AMERICAN     CINEMATOGRAPHER 


February,  1924 


Max  Du  Pont,  A.  S.  C.  Off 

to  Tahiti  For  Long  Rest 


m 


Max    B.    Du    Pont,   A.   S.   C. 

Max  P>.  Du  Pont,  A.  S.  C,  has  loft  for  Papeete, 
Tahiti,  where  it  is  expected  that  he  will  remain  for 
more  than  a  year  for  a  long  rest  to  regain  his 
health. 

Dn  Pont  is  one  of  the  most  versatile  and  efficient 
cinematographers  in  the  profession  and  it  is  the 
hope  of  A.  S.  C.  memhers  and  his  many  friends  that 
his  health  will  permit  his  return  to  Southern  Cali- 
fornia a  long  time  ere  the  expected  year  goes  by. 

For  some  time  before  his  departure  his  production 
schedule  was  very  heavy  and  it  is  believed  that  his 
rest  will  enable  him  to  recover  rapidly  from  the 
strain  of  overwork  so  that  he  may  once  again  be 
back  in  the  cinematographic  fold  in  Hollywood. 


(Continued  from  Page  21) 
Mechanical  "DontV 

Do  not  apply  cement  with  the  flat  of  the  brush, 
use  the  tip  only. 

Avoid  rubbing  back  and  forth  as  if  painting. 

Applying  a  second  coat  of  cement  is  not  good 
practice.    Cut  off  if  possible  and  start  fresh. 

Do  not  reset  the  scraper  knife  without  first  seeing 
if  the  machine  parts  are  clean. 

It  is  advisable  to  acquaint  the  worker  with  the 
why  and  wherefore  of  each  operation.  The  brain  is 
enlisted  as  well  as  the  hands.  An  operator  who 
understands  why  things  are  done  will  think  about 
the  work  and  be  all  the  better  for  it. 
A  Cement  Bottle 

Work  bench  cement  bottles  are  usually  messy  sort 
of  things — a  brush  stuck  in  a  loose  fitting  cork  the 
cement  being  for  the  most  part  exposed  to  the  air. 
On  plate  2  we  suggest  a  type  of  bottle  not  open  to 
these  objections.  The  base  may  be  a  block  of  wood 
bored  for  a  snng  fit  or  the  bottle  may  be  wound  with 
some  waste  film  to  the  required  diameter.     After 


winding  the  end  is  secured  and  the  top  and  bottom 
of  the  winding  brushed  over  with  splicing  cement 
and  dried.  The  Gooch  funnel  may  be  secured  from 
dealers  in  chemical  glassware.  It  is  best  to  order 
the  funnel  cut  off  as  shown,  in  fact,  the  entire  as- 
sembly can  be  ordered  to  specification  at  a  nominal 
price.  If  desired,  the  stem  of  the  funnel  need  not 
be  cut  off  in  which  case  it  will  be  necessary  to  cut 
a  small  V  in  the  large  cork  to  serve  as  a  vent.  The 
bottle  may  then  be  refilled  through  the  funnel  with- 
out disturbing  the  arrangements  except  for  the  pur- 
pose of  cleaning.  With  this  design  only  a  small 
area  of  cement  is  exposed  to  air  and  moisture.  The 
large  opening  of  the  funnel  permits  easy  return  to 
the  brush — it  will  fall  of  its  own  weight  to  the  depth 
allowed  by  the  small  cork  fitted  to  the  brush  which 
depth  is  fixed  by  the  position  of  the  cork  on  the 
brush  handle. 

The  drawing  shows  a  Gooch  funnel  of  stock  dimen- 
sions. The  dotted  lines  top  and  bottom  indicate  the 
lengths  to  be  cut  off.  The  assembly  is  self  explana- 
tory. 

In  this  presentation  as  stated  in  the  beginning, 
we  have  endeavored  to  deal  not  so  much  with  spe- 
cific problems  nor  to  suggest  definite  solutions  but 
to  sketch  a  few  types  with  examples  to  serve  as  illus- 
trations. Perhaps  it  will  only  be  necessary  to  study 
these  examples  and  apply  them  as  functions  of  the 
type  in  order  to  solve  many  laboratory  problems. 

Without  doubt,  all  this  is  known  to  some  but  like 
Abe  Lincoln's  "fooling  some  of  the  people  all  of  the 
time — "  some  may  know  it  all,  all  may  know  some 
of  it  and  it  is  hoped  that  amongst  those  who  still 
have  something  to  learn  will  be  found  a  few  to 
whom  this  studv  will  be  of  service. 


NOTICE! 

Until  completion  of  the  Ameri- 
can Society  of  Cinematographers' 
new  headquarters  in  the  Guaranty 
Building,  Hollywood,  A.  S.  C. 
offices,  by  courtesy  of  the  Electrical 
Illuminating  Engineers  Society,  will 
be  maintained  at  the  E.  I.  E.  S.  quar- 
ters at  1103  N.  El  Centro  Street, 
near  Santa  Monica  Boulevard, 
Hollywood,  Calif.  All  communica- 
tions to  the  American  Society  of 
Cinematographers  as  well  as  to  the 
American  Cinematographer  should 
be  directed  after  February  1st,  to 
that  address  where  A.  S.  C.  meet- 
ings will  be  held  until  the  opening  of 
the  Guaranty  Building. 


January,  1924 

amiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii 


AMERICAN     CINEM  ATOGR  APHER 

llll!ll!IIIIIII!llllll!!l!l!!l!i!llllllllll!lllllllllllll!lll!lllll!!ll!i!lll!W 


Twenty-three 


'  :.■■',. iiliKII'O 

a 


inomo 


IHE  ICA  KINAMO  may  be  rightfully  designated  as 
a  semi-professional  motion   picture  or  cine  camera — 
professional  for  the  reason  that  it  uses  standard  size 
film,  its  capacity  being  eighty  feet,  ample  for  news,  educational  and  indus- 
trial features.    The  used  roll  can  be  removed  and  a  new  one  inserted  ready 
for  use  within  less  than  thirty  seconds — a  professional  necessity. 

The  lens  is  the  Carl  Zeiss  Tessar  /  3.5,  the  lens  with  which  the  best 
feature  films  have  been  made.  It  is  fitted  with  the  Zeiss  focusing  mount, 
with  distances  in  feet  and  diaphragm  markings. 

Like  the  better  professional  cameras,  the  Kinamo 
is  fitted  with  scene  punch,  footage  indicator,  removable 
film  gate  and  one-stop  movement. 

It  is  professional  in  its  construction,  and  the  easily 
operated,  quiet  running  mechanism  is  characteristic  of 
the  best  professional  cameras. 

Its  size  over  all  is  2%x5^2x6^  and  it  weighs  but 
3*4  pounds. 

Each  Kinamo  is  furnished  with  a  substantial  tri- 
pod. The  price  of  the  Model  "A",  accommodating  50 
feet  of  film,  is  $125.00,  and  the  "B",  having  capacity 
for  80  feet,  is  $135.00. 

The  Kinamo  is  sold  by  leading  camera  dealers.      Write  for  the  Kinamo  catalog  and  let  us  know 
your  motion  picture  requirements. 

HAROLD  M.  BENNETT,  U.  S.  Agent,  153  West  23rd  street,  New  York 

lllllllllllilllllliUIIIIMIIIIIIililUIIUffl  llillllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllO 


(Continued  from  Page  16) 

much  havoc  in  the  Lamasery,  fi- 
nally going  to  a  nearby  Christian 
mission  in  Leh,  where  he  applied 
for  admission.  They  kept  him 
around  the  [Mission  Compound  do- 
ing odd  jobs  for  the  course  of  over 
a  year  while  he  turned  a  deaf  ear 
to  the  entreaties  of  the  Lamas 
who  gathered  daily  outside  the 
Mission  Compound,  bringing  many 
presents  of  fruit  and  jewels  and 
beseeching  him  to  return  to  his 
incarnated  post  as  their  Skushok. 
Finally  after  the  Bishop  of  the 
Christian  Mission  Church  had  re- 
fused to  confirm  him  as  a  Chris- 
tian, he  went  off  on  a  journey 
across  the  mountains  and  was 
last  heard  of  working  on  the 
highway  trails  of  the  Public 
Works  Department  for  the  Kash- 
mir government,  which  was  a 
most  amusing  and  extraordinary 


occurrence  in  these  parts  and  was 
to  me,  the  most  striking  example 
of  the  "courage  of  one's  convic- 
tions" that  I  have  ever  known. 

Sheep  Caravans 

In  Leh,  the  capital  of  Ladakh, 
which  is  the  center  of  Western 
Lamaism,  large  caravans  come 
from  Eastern  Tibet,  Yarkand.  and 
the  provinces  of  Chinese  Turkis- 
tan,  bringing  native  goods  for 
trading.  These  caravans  present 
a  strange  sight,  consisting  chiefly 
of  yak  transport  although  some- 
times an  entire  caravan  will  be 
seen  coming  over  the  mountains 
with  sheep  and  goats  as  (he  only 
beast  of  burden;  with  20  pounds 
strapped  to  the  back  of  each  of 
the  flock  that  has  traveled  hun- 
dreds of  miles  across  the  moun- 
tains grazing  as  they  go.  The 
owners  generally  dispose  of  both 


the  burdens  and  the  sheep  upon 
their  arrival  in  Leh.  I  shall  never 
forget  the  first  caravan  I  met  on 
one  of  the  Himalayan  Basses  com- 
posed entirely  of  sheep  and  the 
long-haired  Himalayan  goat, 
from  which  goat  the  very  fine 
peshmina,  wools  and  shawls  of 
Kashmir  are  woven  and  for  which 
Kashmir  is  famous. 

I  shall  always  remember  La- 
dakh as  one  of  the  most  interest- 
ing spots  I  have  ever  visited,  but 
nothing  could  be  more  pleasing 
or  gratifying  than  the  sight  of  the 
"Vale  of  Kashmir"  upon  by  re- 
turn to  this  land  of  comfort  and 
pleasure.  It  was  indeed  good  to 
get  back  to  Sprinagar  after  three 
months'  absence  and  again  enjoy 
the  charm  and  pleasures  of  a 
"floating-palace"  of  one's  own  in 
the  most  beautiful  spot  in  the 
world. 


Twenty-four 


AMERICAN     CINEM  ATOGR  APHER 


February,  1924 


John  Boyle,  A.  S.  C.  Ready  to 

Shoot  "Ben  Hur"  in  Italy 


John  W.   Boyle,  A.  S.  C. 

Gossip  of  European  cinematographic  activities  is 
contained  in  a  letter  to  the  American  Society  of 
Cinematographers  from  John  Boyle,  A.  S.  G,  who 
writes  from  Rome  where  he  is  preparing  for  the  film- 
ing of  Goldwyn's  production  of  ''Ken  Hur.1" 

"I  wish  Tony  Gaudio  were  over  here,"  Boyle 
writes.  "He  could  save  me  a  lot  of  argument  with 
some  of  his  countrymen — my  Italian  is  very  poor; 
however  they  are  a  great  bunch  of  people  and  arc 
treating  us  royally.  Our  Christmas  dinner,  at  the 
home  of  an  Italian,  lasted  from  8  p.  m.  to  midnight 
— some  hospitable  Latins,  I'll  say. 

"So  far  we  have  not  decided  just  where  we  will 
work.  The  studios  are  all  too  small  and  lighting 
equipment  very  limited.  Rome  is  somewhat  like  Los 
Angeles  in  regards  to  climate.  We  have  had  some 
freezing  weather  for  the  past  few  days,  but  the  na- 
tives say  it  is  'very  unusual'." 

"Roy  Overbaugh  is  up  at  Florence  and  shooting 
for  the  Inspiration  Company.  Have  not  seen  him 
but  hope  to  be  up  that  way  in  the  near  future,  but 
suppose  they  are  finished  by  now.  Bob  Kurrle  is 
down  in  Algiers  according  to  the  Paris  papers  which 
we  receive  here  'two  days  old.' 

"There  is  very  little  production  under  way  here 
by  the  Italians  or  anyone  else;  understand  they  are 
making  'Quo  Yadis'  over  again  but  have  not  seen 
them  at  work. 

"The  theatres  are  few  and  small — few  American 
pictures,  mostly  German  and  Italian.  Saw  the  open 
ing  of  'Robin  Hood'  which  was  quite  an  event.  It 
was  the  first  time  a  picture  had  been  run  with  a  spe- 
cial musical  score.  They  seemed  to  enjoy  it  very 
much;  in  fact,  it  was  exhibited  at  the  same  theatre 


for  four  weeks  which  is  exceptional  in  this  part  of 
the  world. 

"I  note  the  letter  you  received  from  the  Roosevelt 
Memorial  Association  in  reference  to  pictures  of  the 
late  president;  having  made  a  picture  with  Colonel 
Roosevelt  some  years  ago  in  the  South,  I  am  writing 
to  Mr.  John  M.  Parker,  now  governor  of  Louisiana, 
with  whom  I  made  the  picture.  If  my  memory 
serves  me  right  he  has  a  copy  of  the  print  as  well  as 
the  negative.  I  am  also  writing  to  the  boys  who  'in- 
herited' all  my  old  negatives  in  New  Orleans  with 
the  hope  that  the  picture  will  be  located." 


(Continued  from  Page  18) 
enough  timber  to  support  half  of  the  English  army. 

Being  the  only  motion  picture  photographer  in 
the  field,  I  had  things  pretty  much  my  own  way  as 
the  50,000  assembled  to  see  the  game  and  await  the 
arrival  of  the  king.  Just  as  the  ruler  of  the  Britons 
was  due  to  be  there,  I  slipped  inside  the  net  and 
set  up. 

Scotland  Yard  Objected 

The  king  was  moving  toward  his  box  when  I  felt 
a  tug  on  my  trouser  leg.  One  glance  downward  told 
me  that  the  gentleman  who  was  doing  the  pulling 
was  a  typical  Scotland  Yard  detective.  He  wanted 
to  know  what  I  intended  doing  with  "that  jolly 
box."  I  told  him  that  I  was  the  official  photographer 
with  the  ball  teams  and  meant  to  take  the  king's 
picture. 

Not  Being  Done 

I  was  keeping  my  eye  peeled  for  the  king  while 
the  detective  expostulated  and  protested  that  "you 
cawn't  do  that,  you  know."  It  was  a  degrading  bit 
of  sacrilege  to  obstruct  the  view  of  his  majesty,  the 
representative  of  the  police  told  me. 

McGraw  As  Diplomat 

McGraw,  who  was  below,  immeditely  compre- 
hended the  situation  and  he  drew  the  detective  to 
the  side.  He  was  telling  him  why  Honus  Wagner 
drank  beer  or  something  as  vaguely  interesting  as 
the  king  drew  near  the  box  and  as  I  began  grinding 
on  him. 

Comisky  Talks  Off  Detective 

McGraw's  eloquence  beginning  to  wane,  Charley 
Comisky,  "the  noblest  Roman  of  them  all,"  tried  his 
hand  at  it,  while  McGraw  was  being  introduced  to 
the  king  by  Ambassador  Page. 

McGlyn  Takes  Up  Argument 

But  it  was  soon  Comisky's  turn  to  be  introduced, 
so  Frank  McGlyn,  who  had  been  a  director  for  the 
Edison  company  and  who  is  now  known  as  the  cre- 
ator of  Drinkwater's  role  of  Lincoln,  took  his  turn 
with  the  Scotland  Yard  man.  He  argued  with  him 
long  enough  for  me  to  complete  my  unbroken  record 
of  the  proceedings.  McGraw  winked  at  me  from  the 
king's  box. 

McGlyn  ran  out  of  explanations  just  about  that 
time  and  the  detective  came  to  the  sudden  realiza- 
tion that  the  Yankee  had  been  grinding  on  the  king 
all  the  while.  He  grabbed  my  ankle  and  jerked  me 
to  the  ground,  and  the  platform  came  down  pronto. 

I  did  not  notice  whether  King  George  objected  to 
being  filmed  but  I  rather  think  lie  liked  it. 


February,  1924 

K«l!l!lllll!i;[lll!ll!lll[!!ll!lllll!lllll!lllll!llllll!llllllllllll 


AMERICAN     CINEMATOGRAPHER 


Twenty-flv« 

iiiiiiiihk 


RELEASES 

December  15th,  1923  to  January  12th,  1924 


TITLE 

"The  Grail" 

"The  Man  Life  Passed  By" 

"The  Call  of  the  Canyon" 

"Lucretia  Lombard" 

"His  Mystery  Girl" 

"The  Old  Fool" 

"The  Marriage  Market" 

"The  Governor's  Lady" 

"The  Veil  of  Happiness" 

"The  Supreme  Test" 

"Judgment  of  the  Storm" 

"Broadway  Broke" 

"Big  Brother" 

"Boy  of  Mine" 

"A  Prince  of  a  King" 

"Other  Men's  Daughters" 

"Don't  Call  It  Love" 

"The  Steadfast  Heart" 

"Llook  and  Ladder" 

"The  Rendezvous" 

"West  of  the  Water  Tower" 

"The  Lullaby" 

"Three  Miles  Out" 

"Gentle  Julia" 

"Grit" 

"Restless  Wives" 

"The  Great  White  Way" 

"The  Song  of  Love" 
"The  Heart  Bandit" 
"Black  Oxen" 
"Defying  Destiny" 
"The  Whispered  Name" 
"Phantom  Justice" 
"Reno" 


PHOTOGRAPHED  BY 

Jos.  Brotherton,  member  A.  S.  C. 

Chester  Lyons. 

James  Howe. 

David  Abel,  member  A.  S.  C. 

William  Thornley. 

Ned  Van  Buren,  member  A.  S.  C. 

King  Gray,  member  A.  S.  C. 

Joe  Ruttenberg. 

Not  Credited. 

Not  Credited. 

Max  Du  Pont,  member  A.  S.  C. 

Bert  Dawley 

Hal  Rosson 

Not  Credited. 

Harry  Thorpe,  member  A.  S.  C. 

Eddie  Lindon  and  Jack  Stevens. 

L.  Guy  Wilky,  member  A.  S.  C. 

George  Peters. 

Virgil  Miller. 

David  Kesson. 

Harry  B.  Harris. 

Jack  McKenzie. 

Henry  Cronjager,  member  A.  S.  C. 

George  Post. 

Fred  Waller. 

Jack  Brown. 

Harold    Wenstrom    and    Henry    Cronjager, 
member  A.  S.  C. 

Tony  Gaudio,  member  A.  S.  C. 

John  Arnold,  member  A.  S.  C. 

Norbert  Brodin.  member  A.  S.  C. 

Lenwood  Abbott. 

Jackson  J.  Rose,  member  A.  S.  C. 

Jack  W.  Fuqua. 

John  Mescall. 


Miiii!:iiiiiiiiiii::iii!iiiiiii!iiiiiiiiiii!iiiiiiiiiiiiiiiiiiiiiiii 


Twenty-six 


AMERICAN     CINEM  ATOGRAPHER 


February,  1924 


H.  Lyman  Broening,  A.  S.  C,  will  leave  shortly 
for  San  Mateo,  Calif.,  where  he  will  be  chief  cinema- 
tographer  for  the  Max  Graf  production,  "The  Wise 
Son." 

The  photography  of  Robert  Kurrle,  A.  S.  C,  and 
Broening  is  coming  in  for  lavish  commendation  in 
the  Rockett-Lincoln  production  of  "Abraham  Lin- 
coln" which  is  reported  to  have  taken  New  York  by 
storm  at  its  recent  opening  at  the  Gaiety  theatre 
after  having  won  the  praise  of  President  Coolidge 
at  a  private  showing  at  the  White  House  during  the 

holidavs. 

*  *       * 

John  Arnold,  A.  S.  C,  is  photographing  Viola 
Dana  in  her  latest  Metro  feature,  "Woman's  Intui- 
tion." 

*  *       * 

Norbert  Brodin,  A.  S.  C,  has  completed  the  first 
month  of  the  filming  of  "The  Sea  Hawk,"  Frank 
Lloyd's  production  for  First  National. 

Brodin  enlisted  the  services  of  Gilbert  Warrenton, 
Faxon  Dean  and  H.  Lyman  Broening,  all  A.  S.  C. 
members,  for  the  filming  of  important  scenes  on  the 
high  seas  off  Los  Angeles  recently. 


Karl  Brown,  A.  S.  C,  is  back  in  Hollywood  from  a 
location  trip  in  the  southern  Mississippi  river  coun- 
try for  the  filming  of  James  Cruze's  production, 
"Magnolia." 

Brown  has  just  completed  the  erection  of  his  mag- 
nificent new  home  in  the  hills  of  Hollywood  that  is 
a  revelation  in  superior  architecture  and  construc- 
tion. 

It  is  complete  to  the  finest  detail,  and,  indicative 
of  Brown's  student  and  experimental  bent,  contains 
a  well-equipped  dark-room  wherein  he  may  retire  to 
pave  the  way  for  making  future  photography  in 
Cruze   productions   greater   than   even   that   of   the 

past. 

*  *       * 

Joseph  Dubray,  A.  S.  C,  is  enjoying  a  well-earned 
rest  after  more  than  a  year  of  continuous  activity 

at  the  R-C  studios. 

*  *       * 

Arthur  Edeson,  Philip  H.  Whitman  and  Kenneth 
MacLean,  all  A.  S.  C.  members,  are  winding  up  the 
photography  on  Douglas  Fairbanks'  "The  Thief  of 
Bagdad,"  after  more  than  32  weeks  of  filming. 


Frank  B.  Good,  A.  S.  C.,  has  completed  the  camera 
work  on  "The  Boy  of  Flanders,"  starring  Jackie 
Coogan. 


Robert  Kurrle,  A.  S.  C.,  in  his  latest  letter,  post- 
marked "Constantine,"  writes  as  follows : 

"Arrived  here  last  night,  150  miles  south  of 
Biskra.  Using  300  camels  this  morning  on  the  sand 
dunes.  This  is  the  most  picturesque  oasis  that  I 
have  seen  yet.  The  days  are  warm  and  the  nights 
very  cold.  Accommodations  are  fair,  but  rather  dif- 
ficult to  get  along  with  candle  light.     Will  be  here 

for  one  week." 

*       *   .    * 

Victor  Milner,  A.  S.  G,  has  been  kept  busy  super- 
vising the  making  of  release  prints  for  Fred  Niblo's 


production   of 
photographed. 


'Thv   Name   Is   Woman,"   which   he 


Robert  Newhard,  A.  S.  C,  has  left  on  location  for 
Coolin,  Idaho,  for  the  filming  of  the  latest  Nell  Ship- 
man  production. 

*  *       * 

Stephen  S.  Norton,  A.  S.  C.,  will  shortly  begin 
the  filming  of  his  next  production  for  Ince. 

*  *       * 

Paul  P.  Perry,  A.  S.  G,  is  photographing  a  Lam- 
bert Hillyer  production  for  Ince. 

*  *       iii 

Jakson  J.  Rose,  A.  S.  C,  is  filming  Laura  La  Plante 
in     the     Universal     production,     "An     Old     Man's 

Darling." 

*  *       * 

A  confusion  of  names  combined  with  a  typograph- 
ical error  in  this  department  last  month  made  it 
appear  as  if  Dan  Clark,  A.  S.  C,  was  filming  a 
picture  at  Universal  when  he  was  really  shooting 
the  latest  Tom  Mix  production. 

*  *       * 

John  Stumar,  A.  S.  G,  is  making  preparations 
for  the  filming  of  "How  To  Educate  a  Wife,"  which 
William  Seiter  will  direct  for  Warner  Bros. 


Charles  Rosher,  A.  S.  C,  has  completed  the  cam- 
era work  on  Marv  Pickford's  "Dorothy  Vernon  of 

Haddon  Hall." 

*  *       * 

George  Schneiderman,  A.  S.  C.  is  in  Wadsworth, 
Nevada,  on  location,  filming  the  Fox  production, 
"The  Transcontinental  Railroad." 

*  *       * 

Henry  Sharp,  A.  S.  G,  has  passed  the  second 
month  in  the  photographing  of  John  Griffith  Wray's 
production  of  "Against  the  Rules"  for  Ince. 

*  *       * 

James  Van  Trees,  A.  S.  C,  has  completed  filming 
of  "Lilies  of  the  Field"  for  First  National. 


iK 


HOW  TO  LOCATE  MEMBERS  OF  THE 

American 
Society    of   Cinematographers 

Phone  Holly  4404 


OFFICERS 


James  C.  Van  Trees 
John  F.  Seitz 
Charles  Van  Enger 
Victor   Milner 
Frank  B.  Good 
Philip  H.  Whitman 


President 

First  Vice-President 

Second  Vice-President 

Third  Vice-President 

Treasurer 

Secretary 


Gaetano  Gandio 
Victor  Milner 
Walter  Griffin 
James  Van  Trees 
Resinald  Lyons 


BOARD  OF  GOVERNORS 

Frank  B.  Good 
Fred  W.  Jackman 
Jackson  J.  Rose 
Charles  Stumar 
Homer  A.  Scott 


Abel.    David — with   Warner  Brothers. 

Arnold.    John — with   Viola   Dana,    Metro   Studio. 

Barlatier.    Andre — 

Barnes,    George    S. — with    Cosmopolitan,    New    York. 

Beckway,   Wm. — with  Capt.   Corlett,  Mexico. 

Kenoit.    Georges — Belasco  Prod.,   United    Studios. 

Broening-,     H.    Lyman — Photographing-    "The    Wise    Son," 

Max  Graf  Prod.,   San  Mateo. 
Boyle.  John  W. — with  Charles  Brabin,  Rome. 
Brodin.    Norbert    F.  —  Frank   Lloyd   Prods.,   First   National, 

United     Studios. 
Brotherton,    Joseph — 

Brown.    Karl — with    Jamear   Cruze,    Lasky    Studio. 
('aim,    Bert — Europe, 
("lark,   Dan — with  Tom  Mix,   Fox. 

Corby,   Francis — with  Hamilton-White,  Fine  Arts  Studios. 
Cowling,    Herford    T. — Travel    Pictures,    Asia. 
Cronjager,    Henry — with    Lasky   Studio,    New   York. 
Dean,     Faxon    M. — with    Joe    Henabery,     Lasky    Studio. 
Doran,     Robert    S. — with    Roach    Studio. 
Dored,     John — Scenic,     Russia.     Pathe. 
Dubray,    Joseph    A. — with    R-C    Studio. 
DuPar,    F.    B. — with    Warner    Brothers. 
Du   Pont.   Max   B.— Tahiti. 
Edeson.     Arthur — with     Douglas     Fairbanks,     Fairbanks- 

Piekford    Studio. 
Evans,    Perry — 

Fildew.    William — with    Irving    Cummings,    Universal. 
Fisher,  Ross  G. — with  A.  J.  Brown  Prods.,  Russell  Studio. 
Gandio.  Tony  G. — with  Norma  Talmadge,  Joseph  Schenck 

Productions,    United    Studio 
GilkS,    Alfred — with   Sam   Wood,    Lasky   Studio. 
Good,    Frank    B. — with    Jackie   Cooeran.    Metro   Studio. 
Granville.   Fred  L. — directing,   British  International  Corp., 

London. 
Gray,    King — Wilnat    Studios. 
Griffin.    Walter    L.— 

Guissart,    Rene — with   J.   Parker   Read.   Monte    Carlo. 
Heimerl,     Alois     G. — 

Jackman,    Floyd — with   Fred   Jackman,   Roach   Studio. 
Jackman,    Fred    W. — directing.    Roach    Studio. 
Koenekamp,    Hans    F. — with    Larry    Semon. 
Kull.    Edward — with    Universal. 
Kurrle.  Robert — Edwin  Carewe,  Africa. 
Landers.   Sam — with  first  National,   United   Studio. 
Lockwood,    J.    R. — 

Edison.    Thomas   A. — Honorary 


Paul  Perry 
Charles  Van  Fngcr 
George  Schneiderman 
Philip  H.  Whitman 
L.  Guy  Wilky 

-with    Harold    Lloyd    Prods..    Hollywood 


Lundin.    Walter- 
Studios. 

Lyons,  Reginald  E. — 

MacLean,   Kenneth  G. — with   Douglas   Fail-banks. 

Marshall,  William — with  Carlos  Productions. 

Meehan,     George — with     Jack     White     Corp..     Fine     Arts 

Studio. 
Milner,   Victor — with   Fred   Niblo.    Chine's    Studio. 
Morgan,  Ira  H. — Marion  Davies.  Cosmopolitan,  New  York. 
Newhard,   Robert  S. — Nell  Shipman  Prods.,   Coolin,  Idaho. 
Norton,   Stephen  S. — with  Ince  Studio. 
Overbaugh.    Roy    F. — New    York    City. 
Palmer,    Ernest    S. — 
LeFicard.    Marcel — New  York. 

Perry,    Harry — with    Preferred    Prnds..    Mayer   Studio. 
Perry.    Paul    P. — with    Lambert    Hillver,    Ince   Studio. 
Polito,  Sol— 
Ries,  Park,  J.— 
Rizard.  Georges — 

Rose,   Jackson — With   King  Baggott.   Universal   Studio. 
Rosher.     Charles— With     Mary     Pickfoid,     l'iekford-Fair- 

banks   Studio. 
Schneiderman.   George — Fox   Studio. 
Scott,    Homer — 

Seitz,    John   F. — With   Rex  Ingram.    Europe. 
Sharp,    Henrv — With   Ince   Studio. 
Short,   Don— With   Fox   Studio. 
Smith.   Steve,  Jr. — With   Vitagraph  Studio. 
Steene.  E.  Burton — New  York. 
Stumar,   John — With   Wm.    Seiter.   Warner  Bros. 
Stumar,   Charles — with  Hobart  Henley,  Universal. 
Thorpe.    Harry — 
Totheroh,      Rollie     H.— With      Charlie      Chaplin,      Chaplin 

Studio. 
Van   Buren,    Ned — In   New   York. 

Van  Enger,   Charles — with  Ernst   Lubitsch,   Warner  Bros. 
Van     Trees,     James — with    John    Francis    Dillion,     United 

Studios. 

Walter.    R.   W. — With  Mack   Sennet   Productions,    Sennett 

Studio. 
Warrenton,  Gilbert — With  First   National.  United  Studios. 
Whitman,     Philip     H. — With     Douglas     Fairbanks,     Fair- 

banks-Pickford    Stud  in. 
Wilky,    L.    Guy— With    William    De    Mille,    Lasky    Studio. 
Member. 


Paley.    William    "Daddy" — Honorary    Member. 
Webb.   Arthur   C. — Attorney. 
Meetings  of  the  American   Society  of   Cinematographers  are  held  every  Monday  evening.  On  the  first  and  the  third 
Monday  of  each  month  the  open  meeting  is  held;  and  on  the  second  and  the  fourth,  the  meeting  of  the  Board  of 
Governors. 


LOYALTY 


PROGRESS 


ART 


K 


a 


::: 


oAre  "Steady"  Pictures  Necessary? 


TUFA'  CERTAINLY  ARE,  and  the  requirements  in  a  camera  necessary  to 
make  steady  pictures,  is  mainly  the  functioning  of  a  properly  constructed  film 
moving  mechanism. 

THE  MITCHELL  HAS  SUCH  A  MECHANISM 

To  the  cameraman  it  is  not  important  how  this  mechanism  is  constructed,  as 
long  as  it  gives  him  the  desired  results. 

That  it  does  give  the  results,  is  attested  by  the  leading  cameramen  in  our 
Hollywood  studios,  who  are  drawing  top  notch  salaries  as  the  leaders  in  their 
profession,  and  who  are  making  the  Super  Pictures  of  today. 

In  the  selection  of  a  camera,  your  question  should  be,  "Will  it  do  the  work?" 
rather  than,  "By  what  means  does  it  do  the  work?''  and  Avhen  you  know  that 
MITCHELL  will  do  the  work,  and  that  it  is  guaranteed  to  do  the  work,  you 
can  rest  in  the  assurance  that  it  will  pass  any  test  required  in  the  making  of 
the  BETTER  PICTURES. 

HOWEVER,  to  the  inquisitive  minded  cameraman,  who  is  interested  in  the 
mechanical  construction,  we  extend  a  cordial  invitation  to  join  us  in  a  discus- 
sion of  the  vital  points,  and  we  know  it  will  be  appreciated  by  him  to  find 

that  it  is  made  right. 

We  know  that  it  is  made  right,  will  do  the  work,  and  will  stand  up. 
We  are  rather  proud  of  this  mechanism,  and  it  is  a  pleasure  for  us  to  guar- 
antee it. 

MITCHELL  CAMERA  CORPORATION 
6025  Santa  Monica  Boulevard  Los  Angeles,  Cal. 


Uol.  1U 
No.     12 


March,   1924 


25    Cents 
A     Copu 


CvV^^^Ng^^^^ 


American 
Cinematoqrapher 

Published  by  the  American  Society  of  Cinematographers,  Inc. 


This  Month 

Slow  ITlotion  As  Educational  Power 

By  Fred  Niblo 

Composition  and  Prize  "Stills" 

Urge  Need  For  Qood  Publicity  "Stills" 


PUBLISHED  IN      HOLLYWOOD     CALIFORNIA 


ffl(F, | :i|iH|||!l!iiUl[|[||iS[[l|inililM[[|ll!l!lll!l!ll!llll!!ll!lllll!lllll!ll 


There   has  NEVER   been   any  QUESTION 
but  that  TRUE  FRIENDSHIP  in  BUSINESS 

LASTS 
ONLY 

when  SERVICE  and  QUALITY  are  GIVEN 


There  has    NEVER    been   any    QUESTION 
as  to  PREFERENCE  after 

ONE 
TRIAL 


WITH  THE 


STANDARD  WAY  in  Hollywood 


Standard "Film  Laboratories 

//u°"Jooce  Seward 'ana 'ffomamo  Streets 

°uJ-Q6  Hollywood  Gili/brma 


fSfat^cfarcf  Trials 


oiiiiiuii i iiiiiiiiiiiiiiii i mil nil i i i iiiiiiiiiiiiiiuiiiiiiin nil iiiiiiiiiiiiii ii n mill inn ' iiiiiiniiiii ■ i i ■■■u ■!■» » « ■ -  !"    """ffl 


pllll!l!lll«llllllllllllllllilllllllll!lll!lllllllllll!l!!ll!!ll!llllllllili 

Vol.  IV  MARCH,  1924  No.  12       I 


American 
Cinematographer 

The  Uoice  of  the  Ttlotion  Picture  Cameramen  of  America;  the  men  u?ho  make  the  pictures 

FOSTER  GOSS,   Editor  and   Business   Manager 

Board   of    Editors— VICTOR    MILNER,    H.    LYMAN    BROENING.    KARL    BROWN,    PHILIP    H.    WHITMAN 

ALFRED   B.    HITCHINS,   Ph.   D.,    F.   R.   P.   S.,    F.   R.    M.   S.,    F.   C.  S.,  Associate   Editor 


Contents: 

Page 

Slow  Motion  As  Educational  Power— By  FRED  NIBLO        .  .  .         / 

Cine  Light— By  DOUGLAS  E.  BROWN         ....  5 

Comfosition  and  Prize   Stills  .  .  .  .  .  .7 

Guissart  Returns  from  Montr  Carlo  .  ....  8 

I  rrge  Need  for  Good  Publicity  Stills  .  .  .  .  .9 

The  Editors1  Corner         .  .  .  .  .  .  .10 

Of  Interest  to  Theatre  Managers        .  .  .  .  .  .12 

Fred  and   Floyd  Jackman   in   New  Achievement  .  .  .15 

Reggie  Lyons,  A.  S.  C,  Re-Joins  J .  Stuart  Blackton  .  .  .18 

Department  of  Interior  Films  to  Fight  Disaster      .  .  .  .  IS 

To  Experiment  with  Color  on  1924  Mt.  Everest  Climb  .  .  .      20 

In  Camerafornia  .......  25 

Releases        .........      26 

A.  S.  C.  Roster  .......  27 


An   educational   and    instructive   publication,  espousing   progress   and    art   in    motion   picture   photography. 
Published  monthly  by  The  American  Society  of  Clnematographers,  Inc. 

Subscription  terms:     United  States,  $3.00  a  year;  Canada,  $3.50   a   year;    foreign,   $4.00    a   year;   single   copies,   25   cents. 
Advertising   rates  on   application. 

Los  Angeles,  California  Telephone,    Hollywood   4404 

(Copyright,    1924,    by   The    American    Society   of    Cinematographers,    Inc.) 


Four 


AMERICAN     CINEM  ATOGRAPHER 


February,  1924 


SIoxd    Motion    As     Educational    Pouter 


Tloted  director  sees  sloip 
motion  cinematographic  as 
great     instruction     factor 


Dij  Fred  Iliblo 


m.    P.    D.    A.    President 
recognizes  motion  pictures 


as     educ  at  ion's     all 


Slow  motion  photography  pre- 
sents to  me  the  most  interesting 
as  well  as  the  most  scientific 
cinema  discovery  since  the  very 
beginning  of  picture  making.  The 
scope  it  covers  is  wide  beyond  con- 
ception; its  educational  value  is 
unlimited  and  T  firmly  believe  it 
will  prove  in  a  short  time  to  be 
the  greatest  and  most  effective 
method  of  teaching.  The  possibi- 
lities of  the  various  ways  in  which 
it  may  be  further  developed,  are 
overwhelming. 

Educational  Power 

Each  year  the  screen  conies  to 
mean  more  in  an  educational  way. 
It  is  a  natural  guide,  for  it  has 
been  proven  conclusively  that  the 
eye  carries  a  more  definite  impres- 
sion than  the  ear.  We  may  hear 
a  thing  and  forget  it.  But  rarely 
do  we  see  an  object  and  not  have 
it  make  a  deep  stamp  upon  our 
subconscious  as  well  as  our  con- 
scions  minds. 

Scope  of  Slow   Motion 

As  an  illustration  of  the  greal 
scope  of  slow  motion  photography 
take  for  example,  a  hospital  clinic. 
During  the  performance  of  an 
operation  the  students  in  the  back 
of  the  auditorium,  those  sitting  in 
the  balconies  and  galleries  are 
abb1  to  bear  the  lecture  accom- 
panying the  operation.  By  slow 
motion  pictures  even  a  more  vivid 
impression  of  what  is  taking  place 
may  be  given,  (ban  the  naked  eye 
could  possibly  discern,  for  slow 
motion  photography  shows  the  act 
at  such  a  rate  of  speed  that  not 
even  the  fraction  of  a  move  is 
missed. 

Think  of  what  it  would  mean  to 
a  group  of  medical  students  to 
be  aide  lo  go  into  a  projection 
ii'oni  and  I  here  see  an  operation 
performed  in  the  most  minute  de- 
tail, to  he  able  to  view  that  op- 
eration again  and  again,  until 
ihev  became  letter  perfect  in  their 


special  line  of  surgical  work.  The 
surety    of    that    camera    picture 

would  mean  more  to  them  than 
all  the  lectures  they  might  listen 
lo  during  a   lifetime. 

In  the  School 

A  child's  school  lessons  might 
lie  made  most  attractive  to  him  by 
leaching  with  slow  motion  pic- 
tures. Getting  him  interested  and 
then  by  repetition  be  could  ac- 
quire that  which  might  he  difficult 
for  him  to  learn  otherwise. 

In  World  of  Sport 

Slow  motion  photography  could 
actually  teach  one  the  intricacies 
of  any  sport  in  the  world.  II 
would  mean  much  to  a  tennis  de- 
votee to  watch  a  tennis  champion 


Niblo,  master  director  of 
the  drama,  emphasizes  (/real 
field  which  slow  million  cine- 
matography can  serve  in  in- 
structing students  of  surg- 
ery, medicine  and  general 
science — <tlso  has  place  in 
elementary  studies. 


in  action  from  the  screen — the 
handling  of  the  racquet  —  the 
stroking  of  the  ball — the  constant 
watching  with  the  eye  would  make 
one  more  accurate  when  going 
upon  the  court.  The  same  is  true 
of  golf;  of  baseball ;  of  swimming. 
Personally,  1  never  grow  tired 
of  watching  slow  motion  piclures. 
Whatever  they  reveal  carries  a 
lesson,  one  which  is  taken  with 
one  upon  leaving  the  theater.  They 
make  a  deep  impression  and  a 
lasting  one.  Of  all  the  cinematic 
discoveries  since  the  beginning  of 
picture  making  they  hold,  I  be- 
lieve, a  bigger  future,  a  more 
definite  place  a  n  d  something 
which  seems  destined  to  go  on 
down  through  the  ages. 


Remember  1 


Temporary  oA.  S.  C. 
headquarters,  until 
completion  of  neiv 
Guaranty  Building, 

are  located  at 


1103  No.  El  Centro 
HOLLYWOOD 


March,  1924 


AMERICAN     CINEMATOGRAPHER 


Five 


Cine 


Lig  K  t 


Dij  Douqlas  E.  Broum 


From  ^Transactions, 

Society  of  ITlotion 

Picture  Enqineers 


CJOO 


SPECTRAL     DISTRIBUTION     CURVES 
Diagram    One 

A.  Photographic     Negative     Material. 

B.  Transmission    of   Glass. 

C.  Relative    Energy   of    Source. 

D.  Visibility   Curve 

E.  Visible   Brightness. 

F.  Sensitivity   Curve   of   Camera. 

G.  Photic    Reflection 


TOO 


SPECTRAL     DISTRIBUTION     CURVES 
Diagram    Two 

E.  Boundary  of  the  area  derived  in  Dia- 
gram One.  which  describes  the  state 
of  maximum  brightness  for  a  unit  of 
of  surface  reflecting  a  unit  quantity 
of  energy,  drawn  to  the  same  scale  as 

G.  Boundary  of  the  area  which  under  the 
given  conditions,  describes  the  state 
of  maximum  photic  reflection  for  a 
unit  of  surface  reflecting  a  unit 
quantity   of   energy. 


The   cameraman    in    the   studio 

runs  two  machines.  The  lights 
bombard  surfaces  w  i  t  h  radi- 
ant energy.  The  camera  records 
the  time-space-intensity  distribu- 
tion of  a  selected  portion  of  the 
energy  these  surfaces  reflect.  No 
cameraman  can  have  more  deli- 
cate control  over  this  double 
mechanism  than  the  delicacy  of 
liis  control  of  the  lights.  So.  un- 
less the  light  machine  is  a  trifle 
better  than  the  camera,  the  studio 
is  going  to  feel  that  light  is  no 
better  than  a  necessary  evil. 

The  cameraman  still  clings  to 
the  crank,  his  ancienl  sign  of 
power,  but  he  is  become  of  value 
to  the  art  in  direct  proportion  to 
his  mastery  of  light.  The  light 
machine  will  lie  controlled  al  the 
camera  by  tlie  cameraman.  More 
than  one  lighl  source  will,  except 
in  special  cases,  be  required,  but 
I  lie  number  of  sources  used  during 
the  photography  of  any  scene  will 
not  depend  on  the  total  photic  flux 
demanded  by  I  lie  sensitivity  of  the 
emulsion,  but  on  the  direction, 
distribution  and  quality  of  light 
wanted.  Single  light  sources,  each 
powerful  enough  to  light  a  large 
sei  unaided,  will  be  available,  but 
these  lights  must  be  built  for  the 
studio. 


Navy  Searchlight 

Years  ago  on  the  coast  some  one 
tried  to  use  a  big  searchlight, 
bought  from  the  navy.  The  base 
was  so  heavy  that  it  took  twelve 
men  to  move  it  around  on  the  lot, 
and  when  this  monster  had  been 
placed,  like  the  parabolic  mirror 
which  Archimedes  used  against 
the  Roman  Heet,  it  began  to  burn 
up  the  scenery. 

What  sort  of  control  will  the 
cameraman  want  to  exercise  over 
such  powerful  lights?  He  will 
place  the  sources,  lie  will  smooth- 
ly govern  the  radiant  flux  they 
play  on  the  set  and  on  the  action 
from  zero  to  any  desired  inten- 
sity. He  may  desire  to  govern 
quality:  to  diffuse  any  proportion 
of  the  hard  light  over  an  area  of 
any  size  by  putting  in  front  of  it 
a  translucent  screen  or  reflector, 
which  becomes  in  effect  a  new 
source,  of  relatively  low  bright- 
ness. By  varying-  all  of  these  fac- 
tors separately  and  together  be- 
fore he  starts  the  camera,  the  ar- 
tist will  produce  in  light  and 
shade  a  background  for  the  ac- 
tion, emphasizing  its  dominant 
mood.  >Vhile  the  scene  is  being 
shot  it  will  occasionally  be  desir- 
able to  heighten   its  emotional  ap- 


peal by  a  progressive  increase  in 
the  hardness  of  the  illumination 
upon  the  actors.  A  changing  lighl 
on  the  scene  may  frequently  be 
valuable,  for  example:  Appia's 
famous  effect  in  the  third  act  of 
Die  Walkure.  The  storm  rises  and 
clouds  roll  in  toward  the  cliff 
where  the  action  speeds  up  to  a 
crescendo  of  excitement  as  Ihun 
derheads  darken  and  overwhelm 
if.  This  sort  of  counterpoint, 
shown  on  a  projection  screen, 
would  be  cinemat ic. 

Mobile  Light 

Mobile  lighl  in  the  studio  will 
facilitate  the  composition  of  the 
most  simple  picture,  and  will 
place  at  the  director's  disposal  the 
visible  dimensions  of  time  space- 
intensity  and  time-space-quality. 

As  long  ago  as  L916,  Cecil  I'.. 
DeMille  "came  to  the  conclusion 
that  light  effects  as  applied  to 
modern  pictures  have  the  definite 
characteristics  of  music:  that  ar- 
tistic lighting  in  the  motion  pic- 
ture assumes  precisely  the  same 
value  in  the  photodrama  that 
music  assumes  in  the  spoken 
drama."  I  have  found,"  says  I  >e- 
.Mille,  •'that  emphasizing  or  soft 
ening  certain  dramatic  points  in 
the  motion  picture  can  be  realized 


Six 


AMERICAN     CINEM  ATOGR  APHER 


March,  1924 


A.  OntuK.hri>m,\<ic  Negative  Material 

B.  Tran*imi>sion  of  Light  Filter 
F!  Sensitivity  Curve  o(  Camera 
CI*.  Photic  Reflection 


700 


300 


700 


Diagram    Three 


The   Light   Used    Might   Be  70%    Visible 
The   Light  Seen    Might   Be  68%    Used 


by  the  discriminating  use  of  light 
effects." 

Three  Regions 

The  quality  of  the  illumination 
from  one  source  upon  any  real 
object,  intensity  being  constant,  is 
a  function  of  the  solid  angle  sub- 
tended at  the  object  by  the  light 
source.  A  source  of  high  photic 
intensity  as  distant  from  the  ob- 
ject as  studio  conditions  permit, 
may  be  assumed  to  throw  nothing 
but  hard  light  on  the  surfaces  it 
directly  illuminates.  Completely 
soft  lighting  would  be  realized  at 
the  center  of  a  glowing  dome,  in 
which  each  small  portion  of  in- 
terior surface  area  behaved  like  a 
source  of  relatively  low  photic  in- 
tensity. Glossy  surfaces  under  a 
single  hard  light  will  reflect  the 
sources  specularly  and  may  cause 
halation  in  the  negative.  Shadow 
edges  will  be  sharp,  and  surfaces 
in  shadow  will  not  photograph. 
All  curved  illuminated  surfaces 
will  show  three  distinct  regions 
of  photic  brightness : 

1.  A  relatively  narrow  region 
of  high  light,  or  semi-specular  re- 
flection. 

2.  A  broader  region  of  nearly 
even  brightness,  due  to  reflection 
perfectly  diffused. 

:'..  A  relatively  narrow  zone  be- 
tween the  diffusely  reflecting  area 
and  shadowed  surface,  across 
which  the  photic  brightness  drops 
steeply  to  zero. 

On  rough  surfaces  there  will  be 
a  less  sharp  demarcation  between 
these  regions.  Other  things  being 
equal,  the  photic  brightness  of  ;i 
surface  is  reduced  proportionally 
to  its  selective  absorption  of  those 
wave  lengths  to  which  the  emul- 
sion is  sensitive.  Under  complete- 
ly sofi   light   the  camera   will  si] 


houette  all  objects  in  film  densi- 
ties proportionally  to  their  reflec- 
tion factors. 

Shadow  and  Depth 

Such  a  picture,  thrown  on  a 
projection  screen,  does  not  regis- 
ter to  the  camera  man  a  subjective 
scene  identical  with  that  which 
the  real  scene  registered  while  he 
was  taking.  The  picture  is  flat, 
the  relative  brightness  of  large 
surfaces  have  been  altered  and  in 
some  cases  confusingly  reversed, 
which  has  made  the  composition 
less  pleasing,  there  is  no  color. 
Conceivably  the  cameraman  might 
school  himself  to  make  allowance' 
for  all  these  varying  factors,  and 
by  the  arrangement  of  surfaces, 
which  should  he  to  him  merely 
symbols  of  projection  screen 
brightness,  compose  a  motion  pic- 
ture which  should  have  through- 
out perfect  unity  of  pictorial  ap- 
pearance. However,  flat  pictures 
of  this  sort  are  by  custom  restrict- 
ed to  the  cartoon  and  mechani- 
graph.  A  technique  of  composi- 
tion infinitely  more  flexible  is 
made  possibly  by  using  hard  light. 
Curved  surfaces  may  appear  to 
stand  out  in  sculptural  relief. 
Shadow  enters  into  the  composi- 
tion as  mass.  The  picture  may  he 
given  apparent  depth,  by  lighting 
i he  background  more  intensely 
than  the  foreground,  a  familiar 
trick  of  Gustave  Dore,  who  seems 
to  have  imagined  cinematic  light 
ing  in  the  days  of  the  zoetrope. 
In  one  of  his  engravings  for  the 
Divina  Com  media  ( Purgatory, 
Canto  III,  lines  56-59)  Dante  and 
Virgil,  in  shadow,  facing  directly 
away  from  the  camera,  gaze  up  at 
a  brightly  lit  procession  which 
moves  in  the  background  and 
above   them,   along  the   edge   of  a 


dark  cliff.  The  stereoscope  effect 
is  striking.  Any  lighting  techni- 
que, however,  is  supimposed  upon 
the  photic  reflection  factor  effect. 

Imagination  Vital 

The  cameraman  is  forced  to 
compose  in  intensities  which  he 
imagines,  for  he  cannot  see  them. 
The  camera,  loaded  with  sensitive 
orthochromatic  film,  and  provided 
with  a  suitable  ray  filter,  would 
record  only  visible  brightness  in- 
tensities. The  confusing  concept 
of  actinic  invisible  light,  involved 
in  the  use  of  the  usual  cine  film, 
requires  that  th  cameraman  shall 
hear  in  mind  an  elaborate  double 
scale  of  pigments,  because  no  fixed 
relation  exists  between  pigment 
brightness  in  the  visible  spectrum, 
and  in  the  ultra  violet.  On  the 
other  hand,  a  sufficient  photic  flux 
of  Altered  light  could  only  be  pro- 
vided by  light  sources  of  high 
candle  power.  The  extra  current 
cost  of  such  apparatus  may  be  re- 
garded as  unimportant,  but  its 
greal  weight  might  make  it 
clumsy.  Moreover,  film  labora- 
tories are  not  equipped  conven- 
iently to  handle  orthochromatic 
film.  So  in  any  commercial  studio 
the  energy  entering  the  camera 
cannot  vet  be  limited  to  visible 
light. 

Put  Actors  At  Ease 

A  similar  theoretical  ideal 
would  be  the  composition  of  sets 
and  costume  in  colors  which  the 
camera  was  equipped  to  record.  If 
actors  were  puppets,  most  excel- 
lent designs  in  black,  white  and 
tones  of  gray  might  be  arranged 
with  the  studio.  But  the  actor  is 
no1    a    puppet,   and   demands    the 

Continued  on  Page  23 


March.  1924 


AMERICAN     CINEMATOGRAPHER 


Seven 


Composition 

and  Prize  Stills 

A  singula]'  situation  has  recently  come  to  light  i 
still  photography.  Pictures  which  won  awards,  or  a 
graphs  of  motion  picture  sets. 

This  seems  innocent  enough  in  itself  and  gives  n 

ibly  not  to  the  judges  who  made  the  award  for  the  e 

fconed,  the   pictures  were  of  motion   picture  sets — s 

taking  effort  by  experienced  cinematographers  whos 

part  of  their  success. 

With  this  fact  in  mind,  the  situation  of  the  prize- 
winning  stills  takes  on  a  different  aspect.  It  was 
a  conceded  fact  that  the  composition  of  their  sub- 
jects were  important  factors  in  their  superiority  but 
all  of  the  acknowledgment  for  their  distinctiveness 
went  to  the  photographer  who  came  into  the  studio 
and  photographed  a  set  which  had  been  made  beau- 
tiful in  composition  by  the  einematographer  through 
hours  of  thought  and  effort  preceded1  by  years  of 
experience  gained  in  such  matters  by  initiative  and 
study  on  the  part  of  the  einematographer. 

Composition  Basic 

Of  course  the  pictures  were  not  made  less  beauti- 
ful because  of  the  fact  that  one  man  arranged  the 
composition  and  another  took  the  "still."  But  it 
so  happens  that  not  a  word  was  breathed  of  the 
cinematographers'  participation  in  the  creation  of 
the  composition  which  made  the  prize-winning 
photographs  possible.  Grant  the  photographer  who 
made  the  stills  a  wealth  of  photographic  experience, 
ye\  the  fact  that  the  einematographer  was  respon- 
sible for  the  composition  should  considerably  alter 
tlie  direction  into  which  the  awards  were  given. 

Nature's  Part 

One  might  say  that  when  the  einematographer  or 
the  photographer  makes  a  beautiful  study  of  subject 
of  nature,  one  does  not  rush  to  physically  credit 
"nature"  for  its  part  in  the  triumph  but  rest  mat- 
ters by  accrediting  the  person  (if  anyone  at  all) 
whom  one  believes  responsible  for  the  photography. 
P>ut  we  do  credit  nature  for  its  part,  which  is  in- 
directly proved  by  the  fact  that  we  travel  hundreds 
of  miles  to  see  natural  wonders. 

Solution 

Yes,  the  matter  of  one  person,  able  photographer 
though  he  is,  winning  awards  for  photographs  whose 
supremacy  in  composition  is  due  to  another,  surely 
is  a  different  matter.     There  is  no  solution  thereto 


TTlere  clicking  of 

camera  is  not  sole 

factor  in  superior  still 

n  connection  with  the  award  of  prizes  in  exhibits  of 
t  least  were  deemed  worthy  of  exhibit,  were  photo- 

o  ground  for  question  to  the  average  person  and  prob- 
xcellency  of  still  photography.  But,  as  has  been  men-, 
ets  whose  composition  had  been  arranged  with  pains- 
e  sense  of  compositional  values  accounts  for  a  large 


unless  it  is  one  such  as  "Photography  by — : 

Composition  by ;  etc." 

No  Cause  for   Pleasure 

As  a  rule,  still  photographers  of  recognized  Arms 
are  welcomed  to  the  studio  by  screen  celebrities.  If 
a  star  appears  in  a  photograph  which  as  the  result 
of  the  photographer's  artistry  is  likely  to  be  widely 
exhibited,  surely  no  harm  can  result  to  the  star. 
Also,  the  einematographer  invariably  regards  such 
a  photographer  with  unjealous  eyes,  and  is  even 
ready  to  assist  him  in  the  placing  of  studio  lights 
with  which  the  still  man  may  be  unfamiliar.  But 
when  the  laurels  for  such  co-operation  go  entirely 
to  the  photographer,  the  einematographer  surely  has 
no  cause  to  be  pleased. 

Taken  in  the  whole,  the  aforementioned  situation 
is  indicative  of  the  still  prevailing  popular  miscon- 
ception as  to  the  duties  of  the  einematographer, 
who,  as  the  majority  still  believe,  merely  turns  the 
crank. 

But  the  many  things  that  he  must  do  before,  and 
even  after,  he  ever  turns  the  crank! 

Composition  Vital 

And  the  art  of  composition  enters  prominently 
among  his  duties  before  he  ever  touches  the  crank. 
What  good  will  be  the  turning  of  the  crank  if  it 
does  not  turn  on  a  subject  that  will  give  a  meritable 
appearance  on  the  screen?  What  if  the  value  of 
composition  is  entirely  ignored?  What  if  hapha- 
zard decoration  of  the  set  is  tolerated?  What  if 
the  furniture  and  embellishments  are  placed  with 
no  regard  to  the  physical  attributes  of  the  star  or 
the  action  of  which  the  star  is  the  center? 

What  if  the  lights  are  allowed  to  strike  on  any 
part  of  the  set?  What  if  the  unimportant  is  accen 
tuated  and  the  important  subdued?  What  if  the 
improper  colors  are  used  for  the  scenery,  or  for  the 
players'  apparel?  What  if  the  players  are  using  im- 
proper makeup? 

What,  in  short,  would  happen  if  the  einematog- 
rapher were  not  a  master  of  composition? 


Xe»v    A..  Sa  C, 

Quarters 


.....  -  --  '■  :^-',>-Vl 


Jvf-YWOOO 


Eight 


AMERICAN     CINEM AT OGRAPHER 


March,  1924 


■:    ■ 


Beautiful  Monte  Carlo  forms  a  far-reaching  background  in  a  scene  taken  by  Rene  Guissart 
A.  S.  C.  Left  to  right:  Clyde  Broock,  an  English  actor;  Betty  Blythe;  T.  Hays  Hunter,  director; 
Rene   Guissart,  A.   S.  C,  at  camera,  and    Gerald   Duffy,  scenarist. 


Quissart   Returns 
From   ITlonte   Carlo 

Rene  Guissart,  A.  S.  C,  is  back  in  Hollywood 
once  more  after  a  working  sojourn  in  Monte  Carlo 
and  France  since  last  October,  during  which  time 
he  served  as  chief  cinematographer  for  J.  Parker 
Read's  production  of  Rex  Beach's  "The  Recoil," 
directed  by  T.  Hayes  Hunter,  with  Betty  Blythe, 
Mahlon  Hamilton,  Clyde  Broock  and  other  celebri- 
ties in  the  cast. 

At  the  time  Guissart  left  Hollywood  last  fall  to 
take  charge  of  his  department  with  the  Read  com- 
pany he  had  been  in  Southern  California  a  bare 
week  following  his  return  from  England,  where  he 
had  maintained  his  headquarters  for  the  past  sev- 
eral years  during  which  period  he  filmed  numerous 
of  the  outstanding  productions  in  Great  Britain  and 
on   the  continent. 

Reluctant  to  Go 

Guissart  was  loath  to  leave  Hollywood,  from 
which  he  had  been  absent  for  so  long,  and,  in  fact, 
several  times  refused  to  be  moved  by  the  attractive 
offers  which  the  Read  organization  proferred  him. 
He  had  intended  remaining  in  his  favorite  Southern 
California,  which  to  him  was  a  welcome  haven  after 
several  years  on  the  other  side  of  the  Atlantic.  But 
the  offers  to  go  to  Monte  Carlo  were  steadily  made 
more  attractive  until  at  last  the  A.  S.  C.  member 
capitulated,  with  the  understanding  that  he  was  to 
return  to  Hollywood  immediately  on  the  finish  of 
the  production.  He  was  accompanied  by  Mrs.  Guis- 
sart on  the  trip. 


A.  S.  C.  member  back 
in  tiolluipood  for  second 

time    since    last    fall 

For  the  first  time  in  film  history,  it  is  believed, 
the  interior  of  the  famous  Casino  at  Monte  Carlo 
was  filmed  by  an  American  company.  It  had  been 
shot  previously  by  French  companies,  but  none  of 
these  were  able  to  cope  successfully  with  the  prob- 
lem of  properly  illuminating  the  intricate  interiors 
with  artificial  lights. 

American  Lighting 

This  problem,  however,  held  no  terrors  for  Guis- 
sart, who  brought  American  cinematographic  and 
lighting  methods  to  work,  with  the  result  that  the 
Casino  interiors  are  as  perfectly  photographed  as  if 
they  had  been  reproduced  in  a  motion  picture  studio 
with  every  advantage  of  artificial  lighting  at  hand. 

Original  Interiors 

Guissart  filmed  the  original  interiors  as  well  as 
the  natural  exteriors  throughout  the  picture.  Only 
one  set  was  built  for  the  entire  picture,  and  this  was 
a  table  constructed  in  the  form  of  a  jeweled  broach 
around  which  the  1 2  most  beautiful  women  of 
Europe  were  supposed  to  feast.  J.  Parker  Read 
was  faced  with  a  difficulty  in  obtaining  these  ladies 
in  France,  but  the  matter  was  made  simple  enough 
through  the  good  offices  of  Henri  Letellier,  who  as- 
sembled the  dozen  beauties  through  a  nationwide 
selective  contest  in  his  Paris  Journal. 

On  his  return  Guissart  brought  with  him  two  Bel- 
gian police  dogs  and  two  Belgian  shepherds,  the 
latter  of  which  are  said  to  represent  a  strain  never 
before  seen  in  this  country. 


March,  1924 


AMERICAN     CINEMATOGRAPHER 


Nine 


Urge    Reed    for    Gjood    Publicity    Stills 


Effectiveness  in  publicity 
stills  does  not  end  with 
pictorial  beauty 


In  an  article  which  appeared  recently  in  the  Los 
Angeles  Examiner,  Florence  Lawrence,  drama  and 
music  editor  of  that  publication,  pointed  out  a  con- 
dition which,  it  may  be  safely  said,  is  affecting  not 
only  her  journal  hut  is  felt  wherever  scenes  from 
motion  pictures  are  reproduced  in  newspapers. 

The  condition,  in  short,  is  the  inadaptability  of 
"si ills'*  from  motion  pictures  for  newspaper  repro- 
duction. 

Mrs.  Lawrence,  in  summing  up  the  situation,  con 
eludes  that  the  responsibility  devolves  upon  the 
jfinematographer  to  turn  out  stills  which  are  not  the 
despair  of  the  newspaper  office  and  its  engraving 
plant.  Perhaps  so,  if  it  is  definitely  within  the  power 
of  the  cinematographer  to  make  the  stills  on  his 
production. 

Responsibility  Uncertain 

But  investigation  will  show  that  it  is  a  very  dif- 
ficult matter,  in  the  average  studio,  to  ascertain 
where  the  responsibility  for  still  making  lies.  With 
some  organizations,  the  cinematographer  himself 
shoots  the  stills.  With  such  companies,  the  blame 
for  poor  stills  should  he  his  provided  he  is  able  to 
control  the  conditions  under  which  they  are  shot. 
With  other  outfits,  a  special  still  photographer  is  a 
member  of  the  staff,  while  with  other  organizations 
the  still  man  is  retained  by  the  picture.  It  is  there- 
fore comparatively  difficult  to  ascribe  the  laxness  in 
still  making  to  any  one  particular  class  of  motion 
picture  workers. 

Beauty  Often  Impractical 

Without  doubt,  however,  Mrs.  Lawrence  may  well 
Consider  the  matter  of  still  photography,  today,  gen 
erally  speaking,  a  practical  failure.  This  is  not  to 
say  that  the  cinematographer  or  the  still  photog- 
rapher does  not  understand  his  photography;  far 
C,.om  it — many  stills  which  have  no  practical  value 
are  in  themselves  things  of  beauty  and  musi  be  ad- 
mired as  photographs. 

Engraving  Limitations 

Bui  the  limitations  of  engraving  and  lithographic 
processes  and  of  newspaper  practices  do  not  always 
render  it  ex]>edient  to  concentrate  on  pictorial 
beauty  when  pictures  are  to  be  used  for  publicity 
and  exploitation  purposes.  And  what,  after  all,  are 
stills  made  for,  except  for  publicity  and  exploita- 
tion purposes? 

Stills  which  the  photographer  or  the  cinema- 
tographer shoots  of  the  various  scenes  may  be  said 
to  have  three  general  uses:  First,  for  newspaper  re- 
production; second,  for  lithographic  reproduction, 
and  third,  for  lobby  card  displays. 

The  two  latter  divisions  are  subject,   practically. 


Newspaper  practices,  and 
engraving  limitations 
must      be      considered 


to  fewer  limitations  than  the  first  division.  Stills 
that  are  not  adapted  for  newspaper  or  lithographic 
reproduction  may  show  to  advantage  in  a  lobby  dis 
play,  and  those  which  are  nol  within  the  confines 
of  newspaper  use  may  prove  adapt ible  for  litho- 
graphs or  lobbies. 

Outlet  of  Each  Still  Important 

Whoever  has  charge  of  the  still  making  in  any 
particular  company  should  make  it  a  part  of  his 
duties  to  have  intelligent  attention  paid  to  the  use 
to  which  each  still  is  to  be  put  before  any  such  still 
is  made.  A  still  isn't  just  a  still — or  shouldn't  be. 
Each  should  be  a  definite  unit  toward  furthering  the 
interests  of  the  production  to  which  it  relates.  Tt 
should  be  a  force  of  attraction — a  force  that  will 
tend  to  draw  people,  after  they  have  examined  a 
reproduction  of  the  still,  to  the  theatre  at  which  the 
picture,  a  scene  of  which  the  still  represents,  is 
showing. 

"Rush  Act"  Ruinous 

Stills  don't  become  units  of  attraction,  however, 
when  the  still  photographer  is  rustled  on  the  set  at 
the  last  moment  and  made  to  pick  around,  photo 
graphically,  in  the  scene's  "leavings."  Tt  should  be 
made  just  as  possible  for  him  to  shoot  a  carefully 
planned  and  well  arranged  still  as  it  is  provided  for 
to  allow  the  director  to  direct  a  carefully  planned 
and  well  arranged  scene.  If  the  director  is  short  - 
sighted  enough  not  to  be  interested  sufficiently  to 
give  though!  to  the  shooting  of  stills,  then  be  should 
be  at  least  patient  enough  not  to  rush  prematurely 
on  to  the  next  scene  or  to  excuse  his  players  from 
the  set  before  the  still  photographer  has  had  a 
chance  to  make  a  still  that  is  something  more  than 
just  a  photograph.  The  same  applies  to  stars  and 
other  members  of  the  cast. 

Stills  Are  Lasting  Records 

Still-time  should  not  be  impatiently  fretted 
through  as  a  necessary  evil — it  is  one  of  the  best 
extrinsic  opportunities  for  the  player  to  "put"  him- 
self "over"  with  the  public.  The  audience  can  look 
at  the  actor  in  moving  pictures  only  while  the  audi 
ence  is  within  the  theatre.  Each  scene  is  screened  and 
then  is  lost  from  sight.  But  the  still  photograph,  as 
reproduced  in  newspaper  or  magazine,  makes  it  pos- 
sible for  the  likeness  of  the  player  to  be  gazed  upon 
as  long  as  the  gazer  chooses  to  gaze.  What  happen*;, 
i hen  if  the  still,  through  its  reproduction,  casts  oil 
a  slip-shod  effect  to  the  person  who  views  it? 

To  return  to  our  first  general  division  for  the  out 
(Continued  on  Page  16) 


Ten  AMERICAN     CINEMATOGRAPHER  March.  1924 

JMMWIilllllllMllllliilllM 

^TtLG    Editor's    Corner  —conducted  bij  Foster  Qoss 


"The  American  Society  of  Cinematographers  as  representative  of 
cinematographers,  or  cameramen,  do  hereby  request  of  you  at  this 
time  that  proper  action  be  taken  to  repeal  the  excise  tax  of  ten  per 
cent  which  is  paid  by  every  purchaser  of  a  motion  picture  camera. 
The  motion  picture  camera  can  no  longer  be  regarded  as  merely  a 
piece  of  mechanism  through  which  to  produce  amusement.  It  has 
earned  its  place  in  the  industrial  world  as  well  as  in  the  educational 
world  thorough  investigation  will  show.  Moreover,  we  believe  that  it 
is  a  truth  that  by  far  the  majority  of  the  motion  picture  cameras  in  use 
in  the  United  States  are  not  being  employed  in  amusement  sources,  but 
have  a  general  industrial  news  and  educational  usage.  To  tax  the 
news  cinematographer  for  his  camera  is  much  the  same  as  taxing  the 
newspaper  reporter  for  his  typewriter,  the  carpenter  for  his  saw,  or 
the  mason  for  his  trowel.  When  the  cinematographer's  camera  is 
taxed  his  direct  means  of  making  a  living  is  taxed.  The  total  revenue 
obtained  by  the  Government  from  this  source  does  not  exceed  ten 
thousand  dollars  per  year  and  is  not  commensurate  with  the  burden  it 
imposes  on  the  cameraman.  It  is  our  sincere  hope  that  this  plea  will 
not  go  unheeded." 

□         □         □ 

The  foregoing  was  sent  by  the'  American  Society  of  Cinematographers 
in  a  telegram  to  the  Ways  and  Means  Committee,  House  of  Representatives, 
Washington,  and  signalizes  the  protest  of  the  cinematographer  against  the 
continuance  of  a  tax  which,  as  is  pointed  out,  amounts  to  a  levy  on  the  very 
tool  or  instrument  by  means  of  which  he  makes  his  livelihood. 

□  □         □ 

Copies  of  the  telegram,  accompanied  by  explanatory  letters  of  a  similar 
nature,  were  sent  by  the  Society  to  Senator  Hiram  Johnson,  Senator  Samuel 
Shortridge,  Representative  John  D.  Fredericks  and  Representative  Walter 
Lineberger,  all  members  of  Congress  from  California. 

□  □        □ 

The  matter,  however,  is  one  that  is  not  confined  in  effect  to  California, 
even  though  that  state  is  generally  regarded  as  the  center  of  film  production. 
The  situation  is  national  and  affects  every  prospective  owner  of  a  motion  pic- 
ture camera  as  well  as  every  cinematographer  who  will  buy  a  new  camera. 
Therefore  the  action  of  the  American  Society  of  Cinematographers  should, 
not  stand  by  itself,  but  should  be  supplemented  by  similar  appeals  from 
individual  cinematographers  throughout  the  country  to  members  of  Congress 
from  their  State. 

!,□        □        □ 

If  the  tax  was  originally  imposed  for  the  purpose  of  levying  on  a  form 
of  amusement,  then  it  must  be  admitted,  as  the  A.  S.  C.  telegram  suggests* 


Know  i  '!"<  in  nm i  nnu nmMMUffliiiM^  liiiiiiiiiiffliamiuiiimiiii iiiiiiiiiiiiniiiiiiiiiii iiiiiiwiHiiiiiiii iium ninii uiiimiiiiniiiiiiMiiiiiiiuiiii niiiiiiiiiiiiiE 


March,  1924  AMERICAN     CINEM  ATOGRAPHER  EleTen 

miiiiiiiiiiiim 


that  it  has  been  more  or  less  misdirected,  since  probably  the  majority  of 
cameras  in  use  today  are  being  used  in  non-dramatic  fields.  Moreover,  if 
taxation  of  amusement  was  responsible  for  the  camera  tax  it  would  seem  that 
the  purpose  would  have  been  served  in  the  tax  on  theaters  which  show  the 
pictures  made  with  the  taxed  camera;  and,  further,  if  it  was  the  aim  to  tax 
the  cinematographer's  livelihood  then  the  income  tax  on  his  salary  should' 
have  taken  care  of  this  without  going  to  the  extremity  of  collecting  on  his 
camera. 

□         □        □ 

Without  discrediting  the  instructional  values  of  the  radio,  one  motion 
picture  camera  owner,  in  a  telegram  to  Senator  Johnson,  puts  the  matter 
nicely  when  he  says:  "Why  must  I  pay  ten  per  cent  tax  on  my  motion  picture 
camera  that  I  use  to  make  my  living  when  all  radio  equipment  is  tax  free 
and  is  used  for  amusement  only?" 

□       a 

It  is  well  taken  that  the  burden  imposed  on  the  cinematographer  is  not 
commensurate  with  the  return  to  the  government  of  this  entire  form  of  taxa- 
tion which,  it  is  stated,  does  not  exceed  ten  thousand  dollars  per  year.  This 
brings  us  to  the  point  where  it  might  be  said  that  if  credence  may  be  placed 
in  the  assertion  that  the  "class  which  can  make  the  most  noise"  is  the  body, 
of  people  which  stands  the  best  chance  of  having  repealed  a  tax  which  par- 
ticularly affects  them,  then  there  would  be  scant  possibility  of  the  tax  on 
cameras  being  taken  off  inasmuch  as  a  letter  from  every  camera  owner  in  the 
country  would  not  make  a  total  that  would  "flood"  the  deliberations  of  the' 
Ways  and  Means  Committee.  At  the  same  time,  however,  those  interested 
will  owe  it  to  themselves  to  forward  their  opinions  to  their  Congressmen  and 
the  Ways  and  Means  Committee  even  if,  in  the  last  analysis,  proper  action 
may  be  said  to  rest  with  the  fairness  of  the  committee's  sense  of  proportions, 
in  whatever  recommendations  it  may  make. 

□  '_         □ 

And  when  the  cinematographer  urges  the  repeal  of  the  tax  on  cameras 
he  also  means  the  repeal  of  the  tax  on  lenses,  which  are  inseparable  parts 
to  his  camera. 


Kflllllllllllllllllllllllllllli 


Twelve  AMERICAN     CINEMATOGRAPHER  March,   1924 

£M1I1I1I1PII1MII!I1IIIIIIIB 

I 

Of  Interest    To    Theatre    Managers     \ 

Herewith  is  reprinted  a  letter  which,  written  by  an  A.  8.  C.  member  to 
the  managing  director  of  one  of  the  nation's  foremost  theatres,  deals  with  a 
matter  which  is  of  great  concern  to  those  who  are  interested  in  the  art  of 
ein  ematograph  y. 

This  matter — cutting  cinematographers  credit  titles — is  one  which  lias 
claimed  the  attention  of  the  American  Cinematographer  previously  from  time 
to  time.  Happily,  as  Mr.  Tan  Buren  points  oat.  the  majority  of  the  important 
theatres  in  New  York  do  not  eliminate  the  cinematographer' s  credit  titles  from 

Hie  prints  they  exhibit. 

H 

Hut  because  these  theatres  are  progressive  enough  not  to  arbitrarily  ignore 
the  importance  of  the  calling  of  the  cinematographer  does  not  lessen  the  injus- 
tice worked  against  the  camera  artists  whose  names  are  cut  from  Hie  film  on 
the  occasion  of  vital  New  York  runs  in  another  theatre.  To  a  great  degree, 
theatres  such  as  Hie  outstanding  houses  in  "New  York  set  the  pace  for  exhibitors 
throughout  the  country.  Of  these  theatres — whose  directing  heads  are  natur- 
ally supposed  to  know  more  than  other  exhibitors  concerning  the  factors  which 
go  to  make  up  film  production — if  these  theatres  still  hare  among  their  num- 
ber some  which  persist  in  not  recognizing  the  cinematographer.  then  what  can 
lie  expected  front  those  exhibitors  who  are  fur  remorcd  from  production  in 
other  cities? 

The  progressive  producer  has  long  since  indicated  his  appreciation  of  the 
master  camera  artist  by  including  his  name  among  those  which  are  given  screen 
credit.  It  is  to  lie  hoped  that  the  absence  of  cinematographer*  names  from- 
the  Strand  screen,  in  pictures  wherein  such  camera  <irtists  are  credited  is 
not  the  result  of  arbitrary  and  retrogressire  action,  hut  has  been  caused  bu 
some  unusual  situation  of  some  sort  that  may  at  on<-e  lie  corrected ' . 

No  doubt  the  managing  director  of  the  Strand,  although  he  did  not  hare 
the  opportunity  of  answering  Mr.  Van  Buren's  letter  at  the  time  the  A.  S.  C. 
member  forwarded  the  copy  which  is  herein  reprinted  from  New  York,  has' 
had  some  good  reason  for  withholding  screen  credit  for  the  cinematographer. 
but  it  is  to  be  hoped  that  this  reason  has  been  a  transitory  one  and  since' 
passed. 

In  his  letter.  Mr.  Tan  Buren  speaks  with  the  sincerity  ejf  a  man  who  can 
not  but  feel  disappointment  in  seeing  fellow  cinematographers  deprived  of  that 
which  means  so  much  to  them.     The  letter  follows: 

Mr.  -Toseph  R.  Plunkett, 

Strand  Theatre. 

New  York  City. 
Dear  Sir: 

Having  been  a  patron  of  the  Strand  since  the  first  week  of  its  opening 
several  years  ago  when  it  opened  with  Selig's  "The  Spoilers"  I  am  writing  yon 
a  little  letter  in  the  form  of  a  complaint,  and  which  I  think  is  a  just  one. 

I  have  noticed  for  quite  some  time  that  you  have  been  cutting  THE 
CAMERAMAN'S  NAME  FROM  ALL  OF  YOUR  PRODUCTfOXS.  Do  yen 
really  think  you  are  treating  us  fair  in  this  matter?  Being  a  cameraman 
myself  prompted  this  letter,  and  I  trust  you  will  take  same  in   the  spirit  in 

»"'" ■■■llil illlilllllllllUHIIIIlll ISIIIIIII II Il!!lllllllllillllll!!l!l'l!!llll!llll!llll|||l|!ll!!ll||li!||||||||||!l||||||| Il!!lllll!|||||l!l!|||||!||||||||||!|||||||||| l||IU!ll|||||!lJ||!|||||||||||||| 


.March.  1924  AMERICAN     CINEMATOGRAPHER  Thirteen 

g!!lllll!llllll!ll!llll!!l!!!l!llllllllllll!«!l!!l!M 

which  it  is  -written. 

Wonder  if  such  men  ;is  yourself  have  ever  given  a  thought  to  the  man 
behind  the  camera,  have  yon  ever  stopped  to  think  of  the  number  of  years  that 
it  takes  to  get  to  that  position  back  of  the  camera,  and  after  all  is  said  and 
done  that  there  is  considerably  more  than  just  being  able  to  turn  a  crank  at 
so  many  turns  per  second? 

For  a  number  of  years  back  in  the  old  one  and  two  reelers  time,  we  were 
denied  screen  credit,  but  finally  we  were  granted  the  privilege  of  that  little 
line,  "PHOTOGRAPHED  BY;"  not  only  did  this  act  as  an  incentive  to  better 
photography  all  around  but  it  meant  considerable  to  the  man  behind  the 
camera. 

You  certainly  must  realize  that  screen  credit  to  a  cameraman  means 
more  to  him  than  merely  the  thought  that  he  is  getting  credit  for  his  work. 

The  little  clipping  wliicli  I  enclose  and  which  was  cut  from  today's  N.  Y. 
World,  bears  the  caption.  "DIRECTION  OF  JOSEPH  PLUNKETT,"  also 
all  programs  of  the  Strand  Theatre  bear  a  similar  inscription.  You  would 
not  think  of  cutting  your  own  name  from  the  Strand  advertisements;  why 
treat  us  in  the  way  you  would  not   think  of  treating  yourself? 

Certainly,  Mr.  Plunkett,  the  few  seconds  that  it  takes  to  Hash  the  name 
of  the  cameraman  on  the  screen  is  not  going  to  lengthen  your  program  to  a 
point  where  it  is  harmful,  these  titles  as  a  rule  do  not  exceed  more  than  10  feet 
at  the  most,  which  if  you  give  six  presentations  a  day,  means  seven  minutes 
per  week.  Don't  von  think  that  von  are  treating  us  a  little  unfair  in  this 
matter? 

A  director  may  be  considered  the  Czar  of  the  motion  picture  studio.  He 
can  rehearse  his  scene,  and  then  photograph  it,  and  he  can  photograph  it 
ayain,  and  once  more,  in  fact,  he  can  take  it  as  many  times  as  he  desires,  and 
then  retire  to  the  projection  room  the  next  day  and  run  all  of  these  "takes." 
If  after  seeing  them  on  the  screen  he  does  not  like  them,  be  can  re-take  them 
again  until  he  is  satisfied,  and  that's  that.  Nothing  is  said  or  nothing  is 
thought  of  it. 

But  hereby  hangs  a  tale,  let  there  be  a  re-take  through  some  fault  of  the 
cameraman,  viz. — bad  focusing,  bad  lighting,  under-exposure,  static,  under- 
speeding.  What  happens  nine  times  out  of  ten — you  looking  for  another  job. 
Some  time  Mr.  Plunkett,  inst  give  a  little  thought  to  the  responsibilities  that 
are  carried  by  the  man  back  of  the  camera  in  order  that  the  production 
eventually  may  be  projected  on  the  screen  of  the  Strand  and  other  theatres 
throughout  the  country.  jj 

Coming;  to  facts  of  the  matter  it  takes  co-operation  all  around  to  turn 
out  a  finished  production,  but  with  all  the  co-operation  possible,  if  THE 
CAMERAMAN'S  EXPOSURE  TS  WRONG  no  one  in  the  whole  industry  can 
put  it  there,  so  on  behalf  of  all  cameramen  of  the  IT.  S.  don't  destroy  the  credit, 
that  the  producer  srives  us,  by  cutting  our  names  from  the  productions  that 
are  shown  at  the  Strand  Theatre.  ■ 

The  Capitol  Theatre,  the  Rivoli.  the  Rialto  and  the  Cameo  all  give  us  this 
courtesy,  surely  the  Strand  can  do  the  same.  Tt's  a  small  matter  and  costs 
yon  nothing,  and  you  must  certainly  realize  that  of  all  the  cities  in  the  United 
States,  the  name  of  the  photographer  is  of  most  value  when  it  is  flashed  on 
the  screen  in  New  York  and  Los  Angeles  and  Hollywood,  where  pictures  are 
made.  mr~  *,m* 

=  'ii 

I  ho]ie,  Mr.  Plunkett.  you  can  see  your  way  clear  to  grant  ns  this  little 
courtesy,  and  that  you  will  see  it  from  the  angle  of  the  cameraman. 

Trusting  T  have  not   bored  yon.  T  beg  to  remain, 
■  B 

Sincerely  yours, 

(Signed)   NED  VAN  BUREN. 

jj 

iiiiiiiiiiiiiiiiiiMiia  x 


Fourteen  AMERICAN     CINEMATOGRAPHER  March    1924 


EASTMAN 
POSITIVE  FILM 


Adds  to  picture  interest  the  appeal  of  good 
photography — affords  an  additional  safeguard 
for  the  success  of  the  picture  in  the  eyes  of 
the  audience — carries  quality  from  studio  to 
screen. 

Look  in  the  margin  of  the  release  print  for 
the  identification  "Eastman"  "Kodak." 


Eastman  Film,  both  regular  and 
tinted  base,  is  available  in  thou- 
sand foot  lengths. 


EASTMAN   KODAK    COMPANY 

ROCHESTER,  N.   Y. 


March.  1924 


AMERICAN     CINEMATOGRAPHER 


Tifteen 


Fred  and  Floyd  Jackman 
In   New   Achievement 


Commendation  for  the  pictorial  and  cinema- 
tographic abilities  of  two  A.  K.  0.  members  is  ex- 
tended by  the  "Pre-View,"  a  magazine  issued  as  a 
regular  part  of  the  Los  Angeles  Times,  in  a  review 
of  "Kin"  of  Wild  rTorses"  which  was  directed  by 
Fred  Jackman,  A.  S.  C,  and  photographed  by  Floyd 
Jackman,  A.  S.  f\.  for  Hal  Roach  release  through 
Pathe. 

The  "Pre- View"  review  reads  in  part  as  follows: 

"Kex  is  a  magnificent  black  stallion,  and  a  short 
lime  ago  was  really  the  undefeated  leader  of  a  band 
of  wild  horses  in  the  mountainous  hinterland.  And 
there  he  is  shown  on  the  screen,  the  wild  and  wily 
ruler  of  an  immense  and  picturesque  range  country, 
lie  fights  to  retain  his  supremacy,  too,  and  leads  bis 
herd  in  triumph  after  beating  off  an  invading  white 
rival. 

"How  those  range  scenes  were  taken  T  do  not 
know.  Nor  do  T  know  the  time,  patience  and  footage 
of  film  expended  before  the  present  compelling 
sequences  were  obtained,  but  the  total  of  each  must 
have  been  very  great.     .     .     . 

"The  part  which  the  horse  plays  in  foiling  the 
villain  and  in  bringing  together  the  cowboy  lover 
and  the  ranch  owner's  daughter  is  well  contrived. 
Mr.  Jackman.  who  directed  the  film,  also  made  the 
adaptation  from  one  of  Mr.  Roach's  own  stories,  and 
he  made  a  workmanlike  job  of  if,  for  though  the 
villainy  and  romance  are  subsidiary  interests  they 
are  of  a  piece  with  a  struairle  between  the  man  and 
the  horse  and  the  final  mutual  love  of  those  two. 

"  'Kins:  of  Wild  Horses'  cannot  be  classed  as  an 
'animal  picture,'  nor  yet  as  a  'western.'  It  is  both  of 
these  things,  and  superior  to  each,  too.  In  fact,  it 
is  an  unusual  and  beautiful  production,  never  with- 
out sustained  interest,  and  at  times  with  real  and 
losrical  thrills." 

Fred  Jackman,  A.  S.  C,  has  rapidly  come  to  the 
fore  as  one  of  the  ablest  directors  in  motion  pictures. 
For  many  vears  he  was  supervisinsi'  cinematoarapber 
for  Mack  Bennett  comedies,  in  the  direction  of  sev 
pral  of  which  he  trained  his  first  directorial  experi 
ence.  He  subsequntly  turned  to  serial  directing, 
having  guided  the  production  of  some  of  Hal  Roach's 
most  successful  serials  featuring  Ruth  Roland. 

Then  came  his  direction  of  Jack  London's  ''The 
Tall  of  the  Wild"  which  is  considered  as  one  of  the 
outstanding  featui'es  of  recent  years.  Tn  the  London 
vehicle,  as  in  his  latest  production.  Jackman  not 
only  directed  but  made  the  adaptation  of  the  pro- 
duction. 

The  elder  brother's  honors  have  in  a  large  meas- 
ure been  shared  by  Floyd  Jackman.  A.  S.  C,  who 
has  been  cinematographer  on  the  notable  produc- 
tions directed  bv  Fred  Jackman. 


Hollywood 


4404 


The  American  Society  of 
Cine  mat  ogr -a  pliers'  telephone 
has  been  transferred  and  the 
old  number — H ollywood  440/ 
— has  been  retained.  Those 
who  tried  to  phone  the  A .  S.  C. 
•while  the  phone  was  out  during 
the  period  preceding  the  trans- 
fer are  urged  to  remember  the 
number — Hollyivood  4404. 


A.  S.  C.  and  the 
American  Cinematog- 
rapher headquarters  are 
at  110.$  N.  El  Cehtro, 
Hollyicoocl.  until  the 
completion  of  the  new 
A.  8.  C.  offices  in  the 
new  Guaranty  Build- 
ing. 


Sixteen 
4— . ■ 


AMERICAN     CINEMATOGRAPHER 


March,   1924 
— — — — — ■+ 


EXCEPTIONAL  OFFER 

tyrand  New  Vathe  Studio  Outfit 

WITH  2"  F.  3.  5  KRAUSS  LENS,  AUTOMATIC  SHUTTER 
DISSOLVE,  METAL  FITTINGS,  VEEDER  COUNTER, 
4  MAGAZINES,  2  LEATHER  CASES,  and  PRECISION  BALL 

BEARING  TRIPOD 

$650.00  listed  at  $1050.00 
Motion  Picture   Apparatus   Co.,  Inc. 

U.  S.  and  Canada  Agents  for   Debrie   Cameras  and  Supplies 

118  West  44th  St.,  N.  Y.  C. 

OWNERSHIP  MANAGEMENT  OF  WILLOUGHBYS 


(Continued  from  Page  9) 

let  of  stills — that  of  newspaper  reproduction.  When 
Mrs.  Lawrence  says:  "  'Photograph  returned  by  en- 
graving room.  Art  department  working  overtime 
on  theatrical  layouts.'  Familiar  legends  around  a 
newspaper  office.  Too  familiar,'*  she  speaks  authen- 
tically. I  * 

What  kind  of  stills  are  really  needed  for  news- 
paper reproduction? 

Condensation  Vital 

First  and  foremost,  good  photographic  quality 
being  granted,  condensation  should  be  the  keynote 
of  the  still  for  the  newspaper.  An  eight  by  ten  that 
attempts  to  crowd  the  entire  set  into  one  negative 
is  usually  worthless  for  newspaper  reproduction  if 
for  no  other  reason  that  no  less  than  that  a  five- 
column  cut  would  l>e  required  to  bring  it  out  at  all 
distinctly — and  a  five-column  ml  would  mean  a  one 
half  reduction. 

The  still  that  can  he  reproduced  legibly  in  a  two- 
column  and.  at  a  maximum,  a  three  column  cut,  is 
the  still  that  will  bring  in  the  most  results  for  the 
time  required  to  make  "it.  Another  secret  which  he 
who  is  in  charge  of  the  making  of  stills  should  know 
js  this— get  your  best  box-office  characters  as  close 
I,,  each  other  as  possible  in  the  shooting  of  a  still, 
if  the  newspaper  editor  must  instruct  his  engraver 
i„  ,ui  oul  certain  parts  of  the  picture  in  order  to 
have  it  reproduced  in  a  inquired  width,  make  it  im- 
possible for  him  to  eliminate  the  players  who  mean 


. — . — . — * 

money  to  the  box-office,  but  at  the  same  time  make 
the  picture  compact  enough  for  his  use.  And  this 
may  be  done,  it  may  he  repeated,  by  having  the 
characters  as  close  together  as  possible. 

Wide  Use  for  Compact  Pictures 

In  fact,  if  it  would  he  possible  ordinarily  to  so 
place  the  characters  so  that  the  still  could  be  repro- 
duced in  a  single  column  cut — approximately  two 
inches  to  the  column  in  a  newspaper — such  a  still 
might  even  be  encouraged.  It  is  erroneous  to  helieve 
that  by  strewing  the  characters  all  over  the  picture, 
the  editor  will  obliged  to  use  the  entire  picture  and 
hence  give  a  conple  extra  columns  of  space.  Rather 
than  sprawl  the  still  over  his  entire  page,  he  usually 
throws  it   into  the  waste  basket. 

Theatre  Publicist  Knows 
The  theatre  publicity  man  can  hear  direct  testi- 
mony to  the  insufficiency  of  the  sets  of  stills  with 
which  he  is  expected  to  publicize  a  picture.  He  is 
fortunate  if  he  finds  50  per  cent  of  the  set  suitable 
for  newspaper  use — including  those  which  some  com- 
panies mark  "for  newspaper  reproduction  only,"  and 
which  could  he  properly  reproduced  in  no  less  than 
a  twenty  four  sheet. 

Long-Runs  Demand  Numerous  Stills 

And  what  a  dilemma  the  theatre  publicity  man 
finds  himself  in  if  he  is  handling  a  long  run  picture. 
Say  that  he  finds  1.")  good  newspaper  stills  in  the  set 


March,  1924 


AMERICAN     CINEMATOGRAPHER 


Seventeen 


for  the  production  in  question.  Say  that  ho  is  as 
sured  of  art  twice  a  week  in  five  newspapers — that 
is  ten  stills  right  there  for  the  first  week.  What 
hap{>ens  the  second  week?  He  has  five  stills  where 
he  ought  to  have  ten.  What  happens  the  third  week 
of  the  run?  He  has  no  stills  left  at  all  for  the  news- 
pa]>ers.  He  must  either  do  the  unethical  tiling  of 
trying  to  slip  over  on  one  newspaper  stills  that  have 
already  heen  used  in  others,  or  else  he  must  resort 
to  disseminating  "star-heads"  ( portraits  i  of  the 
players  in  the  cast — which  latter  course  does  not  do 
the  picture  in  question  direct  good,  inasmuch  as 
the  average  star-head  is  used  time  and  again  for 
many  pictures,  and  of  course  gives  no  insight  into 
the  nature  of  the  picture  that  is  being  exhibited. 

Long  Shots  Lose  Out 

In  addition  to  being  photographed  as  closely  to- 
gether as  possible  in  stills  the  characters  should,  for 
ordinary  purposes  in  papers,  be  brought  as  near  to 
the  camera  as  practical.  Long  shots  seldom  "get 
over"  for  the  reason  that  the  objects  which  they 
present  become  so  small  in  reproduction  that  little 
or  no  detail  remains. 

Loss  in  Reproduction 

Newspaper  reproductions  can  he  no  better  than 
engraving  processes  will  allow,  and  all  such  pro- 
cesses are  subject  to  mechanical  limitations.  Every 
photograph  loses  a  certain  amount  of  the  original  in 
reproduction.  A  magnifying  glass  will  reveal  that 
tlic  reproduced  picture  is,  as  it  were,  ;i  series  ol 
small  dots,  some  darker  than  others,  with  empty 
space  in  between,  but  viewed  all  together  give  what 
is  taken  as  a  faithful  likeness  of  the  picture  repro- 
duced. But,  in  reality,  all  of  the  photograph  is 
never  seen  in  the  reproduction.  The  reproduction 
process,  to  use  a  practical  example,  is  much  similar 
in  certain  respects  to  looking  at  an  object  through 
a  screen  window.  We  see  enough  of  the  object  to 
know  what  the  object  is  at  which  we  are  looking  but 
in  truth  we  don't  see  the  parts  of  the  object  ob 
secured  by  the  screen  strands  at  all. 

Many  Dots  Make  Picture 

So  it  is  with  the  reproduced  photograph.  It  is 
filmed  through  a  screen.  The  parts  of  the  picture 
which  will  really  become  visible  when  reproduced 
will  he  represented  by  the  tiny  metal  dots,  the  im- 
prints of  which  the  magnifying  glass  will  reveal  in 
the  picture  in  the  paper. 

Limitations  Kill  Soft-Focus 

What  then,  happens  to  the  "soft-focus"  still  in  the 
average  newspaper  engraving  room?  It  enters  the 
engraving  world  already  minus  a  detiniteness  of  de- 
tail so  necessary  to  successful  reproduction.  The 
best  reproducing  picture  is  the  picture  which  is 
sharp  in  contrasts,  as  Mrs.  Lawrence  suggests — a 
picture  that  can  successfully  stand  up  under  the 
loss  of  a  certain  part  of  its  original  that  the  engrav- 
ing process  necessitates.  The  soft  focus  picture, 
While  a  thing  of  beauty  in  itself,  becomes  even  more 
fague  when  it  loses  a  certain  pari  of  itself  in  repro- 
duction. Then  add  to  this  loss  the  hurried  press- 
work,  which  the  speed  of  newspaper  printing  carries 

Continued   on  FaEe   18 


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Eighteen 


AMERICAN     CINEMATOGRAPHER 


March.   1924 


Reggie  Lyons,  A.  S.  C, 

Re-joins  J.  Stuart  Blackton 


Department  of  Interior 

Films  to   Fight  Disaster 


Resuming  an  association  that  had  its  inception 
when  motion  pictures  were  really  in  their  "infancy," 
Reginald  Lyons,  A.  S.  C,  is  once  again  chief  cinema- 
tographer  for  J.  Stuart  Blackton  who  has  returned 
to  Hollywood  after  several  years  in  England  to 
direct  a  Vitagraph  production  of  "Between 
Friends."  a  Rohert  W.  Chambers  story,  with  a  cast 
of  notables  headed  by  Anna  Q.  Nilsson. 

Lyons  filmed  scores  of  Vitagraph  productions  in 
the  early  days  of  the  industry  in  New  York,  innum- 
erable notables  having  appeared  before  his  camera, 
including  Robert  Edeson,  James  Morrison,  Dot 
Kelly.  Charles  Richmond,  Lillian  Walker,  Clara 
Kimball  Young,  .Maurice  Costello,  -Julia  Swayne 
Cordon.  Bill  Duncan,  Edith  Storey,  Syd  Chaplin. 
.Mary  Anderson.  Belly  Compson,  Antonio  Moreno, 
Alice  Lake.  Nell  Shipnian,  Carle  Williams,  Neal 
Hart   and   Arlinc   Pretty. 

Lyons'  last  vehicle  for  Vitagraph  was  "Black 
Beauty,"  which  commanded  wide  attention  several 
seasons  ago.  When  Uncle  Sam  entered  the  world 
war.  Reggie  decided  to  leave  the  peace  of  the  studio 
behind  and  soon  was  in  Prance  on  the  tiring  line, 
where  he  arose  to  the  commission  of  lieutenant  and 
was  official  photographer  with  the  Tilth  Division, 
A.  E.  P.  Besides  being  an  ace  photographer  with  the 
A.  E.  P.,  Lyons  is  reckoned  as  an  ace  with  the  mo- 
tion picture  camera,  his  long  list  of  productions 
having  always  stood  out  as  distinct  cinematographic 
achievements. 

(Continued  from  Page  17) 

with  it,  and  the  reproduction  of  the  soft  focus  pic- 
ture is  a  sorrowful  affair  indeed. 

Small  Papers  Handicapped 

There  are  very  few  newspapers  which  can  repro- 
duce a  soft-focus  still  effectively,  even  in  the  largest 
cities.  What  happens  when  the  small  town  papers, 
most  of  which  do  not  even  own  their  engraving 
plants,  endeavor  to  reproduce  the  soft-focus  picture 
may  be  realized  by  inspecting  such  a  reproduction 
in  the  usual  publication  of  that  sort. 

Whenever  stills  for  newspaper  reproduction  are 
made  as  they  should  be,  then  an  important  phase 
of  efficient  publicity  will  be  solved.  The  only  way 
in  which  the  situation  of  which  Mrs.  Lawrence  com 
plains  is  going  to  be  remedied  is  by  having  someone 
directly  responsible  for  the  making  of  stills  in  every 
picture.  And  that  person  should  know  just  which 
stills  will  be  filmed  for  newspaper  reproduction, 
which  for  bill  posters,  which  for  lobby  displays  or 
for  other  purposes.  Unsuccessful  is  the  practice  of 
shooting  merely  an  aggregate  number  of  stills  which 
are  used  indiscriminately  for  all  purposes.  Every 
channel  of  still  outlet  should  be  given  the  particular 
attention  it  deserves  and  the  pictures  made  accord 
iugly. 

The  person  who  is  placed  in  charge  of  still  making 
should  possess  something  besides  photographic 
knowledge.      He   should    have   a    working  knowledge 

A  lengthy  series  of  vivid  and  striking  educational 


motion  picture  films,  depicting  the  mining,  prepara- 
tion and  utilization  of  the  various  mineral  materials, 
is  made  more  readily  available  to  the  public  through 
a  new  system  of  distribution,  arranged  by  the  De- 
partment of  the  Interior,  by  which  the  many  indus- 
trial films  made  by  the  Bureau  of  Mines  may  be  ob- 
tained through  state  or  sectional  centers  of  distri- 
bution. 

Nearly  a  hundred  educational  films  have  been  pre- 
pared in  the  past  few  years  by  the  Bureau  of  Mines 
in  cooperation  with  industrial  concerns.  The  de- 
mand for  these  films  for  showing  by  educational 
institutions  and  civic  bodies  has  become  so  great 
that  the  original  plan  of  centralized  distribution 
from  the  Pittsburgh  Experiment  Station  of  the 
Bureau  of  Mines  has  become  inadequate.  A  selected 
list  of  the  best  of  these  films  is  now  made  available 
at  twenty-seven  cooperating  agencies  located  in  the 
different  states. 

The  films  relate  to  coal,  petroleum,  sulphur,  iron, 
;isbestos.  zinc,  marble,  copper,  natural  gas  and  other 
minerals.  A  series  of  films  depicts  most  vividly  such 
industrial  processes  as  the  manufacture  of  oxygen, 
the  making  of  tire-clay  refractories,  the  manufacture 
of  automobiles,  the  methods  of  compressing  air,  the 
quarrying  of  limestone,  etc.  Other  films  illustrate 
dangerous  and  safe  practices  in  mining,  efficiency 
in  the  combustion  of  coal,  the  utilization  of  water 
power,  and  the  operation  of  a  gasoline  motor. 

The  following  is  a  list  of  state  distribution  cen- 
ters, to  which  interested  persons  should  apply  for 
information : 

University  of  Arkansas,   Fayetteville.   Ark.; 

University  of  California.   Berkeley,   Calif.; 

Department     of    Visual     Education.     Los    Angeles    County 
Public  Schools,   Los  Angeles,   Calif.; 

University  of  Colorado,  Boulder,   Colo.; 

University  of  Florida,   Gainesville,  Fla.; 

Bureau  of  Visual  Instruction,   Chicago  Board  of  Education, 
Chicago,   111.; 

State  University  of  Iowa,   Iowa   City.   la.: 

Iowa  State  College.  Ames,  la.; 

Indiana   University,    Bloomington,    Ind.: 

University  of  Kansas,    Lawrence,   Kan.; 

State   Normal  College,   Natchitoches,   La.; 

1'niversitv  of  Michigan.    Ann   Arbor,   Mich.; 

State   Department   of  Public   Instruction.    Lansing,   Mich.: 

University  of     Minnesota,   Minneapolis,   Minn.: 

1'niversitv   of    Missouri,   Columbia,      Mo.: 

Agricultural     and     Mechanical     College     of     Mississippi.     A 
and  M.   College,  Miss.: 

University  of  Nebraska,   Lincoln.   Nebr.; 

New  Jersey  State  Museum,  Trenton,    N.  J.: 

State  Department  of  Education    Raleigh.   X.  C. : 

Educational  Museum,   Cleveland.   O. : 

University  of   Oklahoma,   Norman,   Okla.: 

University   of   Oregon.    Eugene.   Ore.: 

Cooperative     Extension     Work     in     Agriculture    and     Home 
Economics..   Brookings.    S.   Dak.: 

University  of  Texas,  Austin.  Tex.: 

University  of  Utah,  Salt  Lake   City.  Utah.: 

State  College   of  Washington.    Pullman,    Wash,    and 

University   of  Wisconsin.  Madison,  Wis. 

(Continued  on  Page    19) 

of  the  engraving  processes  to  which  the  still  will  be 
subjected.  He  should  look  at  his  subject  from  a 
newspaper  editor's  point  of  view  as  well  as  from  his 
own  pictorial  perspective.  He  should  know  what 
kind  of  stills  make  good  bill  posters  and  what  kind 
make  good  lobby  displays.  In  short,  a  trip  through 
a  modern  engraving  plant  and  a  newspaper  office 
would  do  him  no  harm. 


March.   1924 


AMERICAN     CINEMATOGRAPHER 


Nineteen 


Mr.  Joseph  Aller , 
Rothacker-Aller  Laboratory, 
5515  Melrose  Ave., 
Hollywood,  Calif.        ^ 

Dear  Mr.  Aller: 


Inc. 


New  York,  N.  Y. ,  January  22,  1924. 


$&&&'■ 


"ABRAHAM  LINCOLN"  opened  at  the  Gaiety  Theatre  last  night  and  is 
hailed  by  the  press  as  marking  an  epoch  in  the  motion  picture  industry. 
No  picture  in  recent  years,  we  believe  we  are  safe  in  saying,  has  received 
such  unqualified  and  enthusiastic  praise  from  critics  and  the  public  at 
large,  as  has  been  accorded  this  production. 

No  small  measure  of  this  success  is  due  to  your  organization  and  we 
take  this  occasion  to  extend  an  unsolicited  word  of  gratitude  and  appre- 
ciation. 

In  the  years  we  spent  in  planning  and  producing  "ABRAHAM  LINCOLN", 
we  carefully  and  painstakingly  considered  every  detail,  agreeing  that 
one  of  our  most  important  factors  was  the  selection  of  a  laboratory.  In 
other  words,  we  wanted  the  best  service  and  the  highest  quality  of  workman- 
ship that  it  was  possible  to  obtain. 

That  our  judgment  in  this  regard  was  correct  is  attested  by  the  fact 
that  it  could  not  have  been  humanly  possible  to  make  a  more  beautiful  and 
artistic  print  of  "ABRAHAM  LINCOLN",  than  that  which  we  received  from 
your  laboratory  and  which  was  shown  at  the  Gaiety  last  night. 

Again  assuring  you  of  our  deepest  appreciation  for  your  co-opera- 
tion, we  are, 

Very  truly  yours, 

ROCKETT-LINCOLN  FILM  COMPANY,  ~      i 
By  A.  L.  ROCKETT  [}[  q      , 


a 


(Continued  from  preceding    page) 

Another  Department  of  Interior  plan  of  practical 
educational  value  is  one  which  by  its  vivid  portrayal 
of  the  modern  mine-rescue  and  first-aid  methods  ad- 
vocated by  the  Department  of  Interior  will  help  to 
conserve  the  lives  of  the  thousands  of  coal  miners 
hi  whom  it  will  be  shown,  ll  is  to  be  in  the  form 
of  a  memorial  to  the  late  Francis  S.  Peabody  of  Chi- 
cago, prominent  coal  operator  and  assistant  director 
<>l'  the  Bureau  of  .Mines  during  the  war-time  period. 
The  offer  of  the  film  was  made  to  the  Bureau  of  Mines 
by  Mr.  Peabody's  son,  Captain  Stuyvesant  Peabody, 
who  was  connected  with  the  chemical  warfare  work 
of  the  Bureau  of  Mines  during  the  war.  The  entire 
expense  of  the  film  will  be  borne  by  Mr.  Peabody. 

The  need  for  a  motion-picture  film  which  would 
depict  accurately  and  vividly  approved  methods  for 
the  conduct  of  rescue  operations  following  mine  fires 
and  disasters  and  methods  of  demonstrating  first- 
aid  to  injured  miners  has  long  been  felt,  according 
to  officials  of  the  Bureau  of  Mines.  Woric  on  the 
production  of  the  film  will  begin  within  a  few  weeks, 
and  it  is  hoped  to  have  the  film  ready  for  general 
distribution  by  the  Bureau  within  the  next  few 
months.  Most  of  the  scenes  will  probably  be  staged 
in  the  vicinity  of  Pittsburgh,  where  the  bureau  main- 
tains an  experimental  coal  mine  and  an  experimental 


slat  ion  for  the  study  of  the  causes  and  prevention 
of  mine  accidents.  A  feature  of  the  turn  will  be 
the  depicting  of  methods  of  first-aid  treatment  by 
slow-motion  pictures  which  will  admit  of  a  closer 
study  of  such  methods  than  has  heretofore  been 
possible  in  motion  pictures. 


A  United  States  patent  was  granted  to  David 
Wark  Griffith,  on  December  11,  192:5,  for  a  method 
and  means  for  taking  motion  pictures.  The  method 
and  means  consist  of  arranging  a  camera  before  a 
suitable  stage,  of  dividing  the  stage  by  a  partition 
transversely  of  the  camera  into  a  foreground  and  a 
background.  A  window  is  placed  between  the  cam- 
era and  background  and  a  removable  cover  is  pro- 
vided over  the  window  against  which  the  foreground 
is  photographed.  Life  size  actors  and  objects  are 
arranged  in  the  foreground  while  small  models  and 
dummies  are  arranged  in  the  background  to  har- 
monize with  the  scene.  These  models  and  dummies 
are  photographed  through  the  window  when  the 
cover  is  removed,  tjie  foreground  and  background 
being  photographed  at  different  times  to  produce  a 
composite  negative  in  the  camera.  The  application 
which  matured  into  this  patent  was  filed  in  the  Pat- 
en! Office  during  November  1921,  according  to  F.  G. 
Bradburv,  Los  Angeles  attorney. 


Twenty 


AMERICAN     CINEMATOGRAPHER 


March.   1924 


To  Experiment   With   Color 


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On   1924   3\At.   Everest   Climb 


What  Colors  Are  at  the  Top  of  the  World? 

This  very  interesting  question,  it  is  hoped,  will 
be  answered  by  the  cinematographic  record  of  the 
Mounl  Everest  expedition  of  1!»24,  according  to  an 
announcement  from  Spectrum  Films,  Ltd.,  London. 
One  of  the  most  impressive  results  of  the  film  of 
this  hazardous  climb  up  the  world's  highest  moun- 
tain is  expected  to  be  the  revelation  of  the  colors 
seen  at  the  top  of  the  world,  as  Mount  Everest  is 
called  in  the  East. 

An  arrangement  has  just  been  made  by  Explorer's 
Films,  Ltd.,  with  Spectrum  Films,  Ltd.,  whereby  the 
color  til  111  process  invented  by  Mr.  Claude  Friese- 
Greene  will  be  used  in  photographing  many  of  the 
beauty  spots  high  above  the  habitations  of  man. 

Aside  from  the  beauties  of  strange  and  mysterious 
legions  towering  above  the  rest  of  the  world,  thus 
tu  be  shown,  the  color  him  record  of  this  great  jour- 
ney will  have  important  scientific  and  educational 
values. 

Pew  films  shown  have  attracted  more  intelligenl 
interest  than  the  cinematograph  record  of  the  Mount 
Everest  climb  of  1022,  when  the  courageous  scient- 
ists and  cameramen  almost  reached  the  summit  of 
the  mountain. 

The  Him  of  this  year's  climb  will  be  much  beau- 
tified by  the  addition  of  color,  it  is  hoped.  In  H)22, 
the  Everest  party  saw  wonders  of  nature  at  great 
heights.  At  an  elevation  of  nearly  27,0(10  feet,  banks 
or  rhododendrons  and  other  flowers  of  exquisite 
coloring  were  seen ;  and  at  different  points  on  the 
climb  beautiful  Mowers  and  foliage,  differing  in 
every  respect  from  the  growth  on  the  ordinary  levels 
of  the  earth,  were  discovered. 

The  glaciers  and  other  splendors  of  the  mountain 
will    offer    extraordinary    opportunities    for    color 
photography.     Also,  the  rarified  air  produces  won 
derful  color  effects  in  sky  and  scenic  vistas  at  every 
turn,  it  is  said. 


The  American  Cinematographer — 

Herewith  find  $3.00  to  pay  for  one  years,  subscrip- 
tion to  The  American  Cinematographer,  subscription 


to  begin  with  the  issue  of 


192. 


Name    .. 
Address 


Ultra  Rapid 
Anastigmat 

Bausch  &  Lomb  Optical  Co. 


ROCHESTER.   N.  Y 

jj        New  York  Chicago  Washington        1 

San  Francisco  Portland 

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JAMES  C.  VAN  TREES 
American   Society   of  Cinematographers 

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American    Society    of    Cinematographers 

■■IB 


March,  1924 


AMERICAN     CINEM  ATOG  R  APH  ER 


Twentv-one 


Camera  Has  Art  All  of  Its 

Own,  Satirist  Acknowledges 


Don  Ryan,  skeptic  whose  satirical  department  in 
the  "Los  Angeles  Record"  aims  to  throw  the  mirror 
up  to  life,  is  admittedly  hard  to  please  in  things 
relating  to  the  cinema  as  well  as  in  other  matters, 
hut  he  unhesitatingly  declares  the  achievement  of 
the  moving  picture  camera — which  means  the 
achievement  of  the  cinematographer.  After  remark- 
ing on  the  field  opened  by  Louis  Tolhnrst's  contri- 
butions, Ryan  wrote  recently,  in  part: 

"The  range  of  the  camera,  thanks  to  the  immense 
technical  development  in  motion  pictures,  is  illimit- 
able. No  boundaries  hedge  that  vast,  fair  empire  of 
the  imagination  where  lies  the  true  metier  of  cine- 
matic expression. 

"The  camera  can  show  as  realities  the  imaginings 
of  Edgar  Allan  Poe.  The  camera  can  show  thoughts 
emerging  from  the  brain  and  taking  shape  in  ac- 
tions. The  camera  can  show  the  hinterland  of  dreams, 
where  shapes  of  monstrous  ugliness  and  incompar- 
able beauty  are  born,  live,  fight,  love  and  die. 

''The  camera  is  not  limited  by  life  on  this  plant, 
by  brick  and  steel,  by  flesh  and  blood.  The  camera 
has  wings.     It  can  soar  beyond  the  skies. 

"If  somebody  will  only  cut  it  loose — cut  it  loose 
from  the  stakes  of  convention  to  which  it  is  help- 
lessly tied. 

"The  man  who  has  courage  and  foresight  to  use 
the  knife  and  loose  the  tether  will  probably  make  a 
great  fortune.  This  making  a  great  fortune  will  be 
only  incidental.  The  liberator  will  have  the  satis- 
faction of  being  the  Michael  Angelo  of  a  great  new 
art — the  true  and  living  art  of  the  motion  picture." 


Motor-operated  Camera  Catches 

Continuous  Construction  Record 


Albert  ( '.  Smith,  cinematographer  with  the  South- 
ern California  Edison  Company  ;it  Big  Creek,  Calif., 
solved  i  lie  problem  of  making  a  continuous  record  of 
a  big  construction  job  uuderfnken  by  his  company 
by  rigging  up  an  arrangement  whereby  his  camera 
was  motor-operated  continuously  except  when  the 
electric  current  was  shut  off  at  the  end  of  the  day's 
work. 

A  pair  of  small  motors  were  brought  into  use.  One 
was  put  to  the  task  of  operating  a  "contactor"  or 
time  device  while  the  other  motor,  which  operated 
the  camera,  was  started  and  stopped  by  the  first. 
The  contactor  was  fitted  up  to  allow  different  speeds. 
When  its  mechanism  closed  the  contact,  the  crank- 
ing motor  propelled  the  camera  crank  00  degrees 
which  caused  the  camera  to  make  two  exposures. 
The  object  of  the  arrangement  was  to  make  a  film 
which,  when  exhibited  at  the  normal  rate,  would 
swiftly  show  the  sequence  of  operations  throughout 
the  entire  construction  job. 


7he  Ultrastigmat-/!  .9 


Speed,  flatness  of  field  ana 
critically  sharp  definition 
are  features  of  this  perfect 
I  e  n  s  for  Motion  Picture 
CamerasI  Effects  can  be 
secured  with  this  lens  under 
conditions  which  would  yield 
no  results  with  lenses  of 
smaller  aperture. 

Ask     your     dealer     for        ^ 
descriptive    folder  —  or  fifs/vm 
write    us.  IiNTHe] 

GUNDLACH-MANHATTAN    OPTICAL    CO.,  UENS/ 

Clinton  Ave.,  South   Rochester,  N.  Y.  ><^ 


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SCHEIBE'S  PHOTO-  FILTER  SPECIALTIES 

Are  now  popular  from  coast  to  coast,  and  in  some 
foreign    countries. 

If  my  many  varieties  do  not  always  fill  the  bill,  tell 
me  your  wants  and  I  will  make  them  on  special  order. 

Always  at  your  service. 

GEO.  H.  SCHEIBE 
1636  Lemoyne  St.  Los  Angeles,  Cal. 


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ROY  DAVIDGE  &  CO.  [ 

FILM  LABORATORIES 

(Formerly   Harold   Bell   Wright   Laboratories) 

NOW  LOCATED  AT 

201    N,   OCCIDENTAL  BLVD.  | 
REALART  STUDIO  | 

PHONE  DREXEL  6622 

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FOR  RENT 

Two  Bell  and  Howell  Cameras,  40,  50,  75  mm. 
lenses,  Thalhammer  iris.  Jean  Trebaol,  Jr.,  7042 
Stilson   Street,    Palms,    Calif.      Telephone    761-243. 

II 


Twenty-two 


AMERICAN     CINEM  ATOGRAPHER 


March.   1924 


Director  Of  English  Pictures  On 

English  Production  Possibilities 


Talk  of  British  producers  taking  steps  to  popu- 
larize their  pictures  in  England  in  the  face  of  Amer- 
ican competition  must  be  backed  by  more  than  dis- 
cussion, according  to  Harold  Shaw,  Yankee  director 
who  again  is  making  pictures  in  this  country  after 
ten  years  spent  as  leading  director  for  the  London 
Film  Company.  Mr.  Shaw  recently  filmed  "The 
Living  Past,"  a  Metro  all-star  special  production. 

Mr.  Shaw  commented  on  a  dispatch  from  London 
which  states  that  the  British  film  makers  are  beg- 
ging their  public  as  a  matter  of  patriotism  to  patro- 
nize home  pictures. 


Good  Pictures  Necessary 


"The  only  way  for  British  producers  to  make  suc- 
cessful pictures,  the  kind  that  the  British  public  will 
go  to  see.  is  to  make  good  pictures,"  said  Mr.  Shaw. 
"The  tirst  thing  they  must  do  is  to  forget  American 
competition  and  devote  themselves  to  their  own 
work.    Good  pictures  have  been  made  there. 


Yankee  Lighting  Superior 


"I  made  several  dozen  pictures  in  London.  Some 
of  them  probably  were  not  unusually  good  but  some 
were  every  bit  as  successful  as  any  of  foreign  make 
shown  in  that  country.  England  has  capable 
writers  and  actors.  American  studios  generally 
have  superior  equipment,  particularly  in  the  matter 
of  lighting,  but   that  shortcoming  can  be  remedied. 


Limited  Appeal 


"Production  on  a  more  elaborate  scale  probably 
would  help  the  English  product.  At  present  they 
hesitate  to  spend  more  than  .$20,000  on  any  picture 
while  an  ordinary  good  picture  in  this  country  is 
seldom  produced  for  less  than  five  times  that 
amount.  Another  possible  handicap  in  the  foreign 
distribution  of  their  pictures  is  the  fact  that  many 
of  them  lack  a  wide  appeal,  most  of  them  being  of 
interest  only  in  England.  There  is  no  question  re- 
garding the  reception  good  British  pictures  will 
receive  in  America  and  other  countries.  German  and 
Italian  films  find  a  market  here.  All  that  Americans 
demand  is  quality." 


Laboratory  Slogan   Contest 

Winners  Are  Announced 


Out  of  the  hundreds  of  slogans  submitted  in 
Rothacker  slogan  contest  the  judges  have  at  last 
picked  the  three  winners.  The  judges  gave  an  unani- 
mous sigh  of  relief  when  the  job  was  finished.  So 
many  good  ones  were  submitted  that  the  deciding 
was  difficult. 

Prizes  were  as  follows : 

First,  "First  Choice  of  the  Best  Producers,"  sub- 
mitted by  Neil  G.  Caward,  Chicago  film  advertising 
man ;  second,  "Makes  Better  Pictures  Better,"  sub- 
mitted by  Samuel  Schwartzberg  of  New  York  City ; 
third,  "Prints  with  Personality,"  submitted  by  Wil- 
liam J.  McGrath  of  the  Fox  Film  Corporation,  New 
York  City. 

Early  last  November  Watterson  R.  Rothacker  of- 
fered prizes  of  f  100,  $50  and  $25  in  gold  to  the  three 
slogans  best  expressing  Rothacker  Prints  and  Serv- 
ice. The  contest  ran  until  January  1.  Slogans 
poured  in  not  only  from  all  parts  of  this  country 
and  Canada  but  also  from  abroad. 

After  the  close  of  the  contest  the  slogans  were 
copied  without  the  names  of  the  authors  and  sub- 
mitted to  the  judges. 

"I  want  to  thank  all  my  friends  for  their  interest 
and  effort,"  said  Mr.  Kothacker.  "Only  three  of 
them  won  gold  prizes,  but  hundreds  submitted  slog- 
ans so  clever  that  the  job  of  being  a  judge  was  not 
an  enviable  one.  1  only  wish  T  could  meet  all  of  the 
contestants  face  to  face  to  thank  them  personally." 


A.   S.   C.  Members 


Are  seldom  at  liberty. 
When  they  are,  they  may 
be  reached  by  phoning  or 
writing  A.  S.  C.  head- 
quarters. 


March.  1924  AMERICAN     CINEMATOGRAPHBR  Twenty-three 

XHIIIIIIiiilllllllllfllll Ill I Ill II Ill IIIIIIIIIIIIIIIIIIIIIIIIIIIB^  Hill I I Ill IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII Illlllllllllllllllllllllllllllllllllllllllllllltt 


inomo 


K«" 


(HE  ICA  KINAMO  may  be  rightfully  designated  as 
a  semi-professional  motion   picture  or  cine  camera — 
professional  for  the  reason  that  it  uses  standard  size 
film,  its  capacity  being  eighty  feet,  ample  for  news,  educational  and  indus- 
trial features.    The  used  roll  can  be  removed  and  a  new  one  inserted  ready 
for  use  within  less  than  thirty  seconds — a  professional  necessity. 

The  lens  is  the  Carl  Zeiss  Tessar  /  3.5,  the  lens  with  which  the  best 
feature  films  have  been  made.  It  is  fitted  with  the  Zeiss  focusing  mount, 
with  distances  in  feet  and  diaphragm  markings. 

Like  the  better  professional  cameras,  the  Kinamo 
is  fitted  with  scene  punch,  footage  indicator,  removable 
film  gate  and  one-stop  movement. 

It  is  professional  in  its  construction,  and  the  easily 
operated,  quiet  running  mechanism  is  characteristic  of 
the  best  professional  cameras. 

Its  size  over  all  is  2%x5j^x6^  and  it  weighs  but 
334  pounds. 

Each  Kinamo  is  furnished  with  a  substantial  tri- 
pod. The  price  of  the  Model  "A",  accommodating  50 
feet  of  film,  is  $125.00,  and  the  "B",  having  capacity 
for  80  feet,  is  $135.00. 

The  Kinamo  is  sold  by  leading  camera  dealers.     Write  for  the  Kinamo  catalog  and  let  us  know      f§ 
your  motion  picture  requirements.  jj 

HAROLD  M.  BENNETT,  U.  S.  Agent,  153  West  23rd  street,  New  York 

i.;xii::;ir :-!::";i::,::,;!::,;,,ir';i' .,:,:,iii:„ ji,.  „ i, - ,:.    :   .   : :'.;.    ;■  iiiiiiiiiiiiiiiiliniiililiiililiiiiiiiiiiiiiiiiiiiiiiiiiiiii 


Cine  Light 

(Continued  from  Page  6) 

sort  of  setting,   in   natural   color, 
wliirh  shall  put  him  at  ease. 
Temperament  and   Light 

Temperamental  actors,  more- 
Brer,  have  frequently  insisted 
■port  a  serious  abuse  of  light: 
thai  it  be  used  to  emphasize  not 
the  action,  but  themselves.  So 
poil ions  of  the  stage  are  over- 
lighted,  and  to  preserve  the  com- 
position, the  whole  stage  must  be 
Brought  up  to  an  unsuitable  tone. 
The  excellence  of  lighting  appa- 
ratus is  the  limiting  factor  in  de- 
signing sets  for  the  studio,  for  a 
sel  lighted  in  an  awkward  or  com- 
plex manner  will  surely  distract 
attention  from  the  story.  Light 
is  cheaper  than  lumber.  However, 
there  can  be  no  proper  separation 


made  between  the  design  of  a  set 
and  the  lighting  of  it;  these  things 
ought  to  be  considered  together. 
A  separation,  it  is  true,  is  often 
Found  to  exist  between  the  light- 
ing of  the  set  and  the  lighting  of 
the  action,  and  two  separate  light- 
ing schemes,  overlapping  in  cer- 
tain regions,  may  be  worked  out. 
The  faces  of  actors  especially  will 
require  individual  lighting  atten- 
tion. Because  of  this,  many  sets 
will  tend  to  separate  into  two 
rather  sharply  defined  regions — a 
fore-stage,  near  the  camera,  where 
most  of  the  action  will  take  place, 
and  the  background,  each  lighted 
differently. 

Cinematic  effects  as  uniquely 
characteristic  of  the  art  as  the 
vision  may  be  obtained  with  light 
bv    deliberately     intensifying    the 


difference  between  these  regions. 
Thus  Dore  narrows  the  fore-stage 
till  there  is  hardly  standing  room 
for  his  two  actors,  and  does  not 
light  them  at  all,  so  that  they  are 
silhouetted  black  against  a  gigan- 
tic frosty  pageant  of  mounted 
warriors,  in  soft  focus,  which, 
brilliantly  lit,  moves  obliquely  to- 
ward and  across  the  face  of  the 
camera.    (Canto  X,  lines  7L7(>). 

It  appears  that  the  fundamental 
studio  lighting  unit  is  a  hard 
light  of  low  weight  per  lumen. 
provided  with  separable  diffusers, 
parabolic  reflector,  and  a  large 
reflecting  screen.  There  should 
be  a  means  provided  for  dimming 
it,  which  can  be  controlled  from 
the  camera.  A  dozen  such  lights, 
of  varying  sizes,  should  provide  a 
sufficiently    elaborate    equipment 


Twenty-four 


AM 


lor  Hie  photography  of  any  ordi- 
nary scene  within  the  studio. 

Individuality  in  Lighting 

The   individual    artisl     will    al- 
ways develop  a  special  technique 
in    the    use    of   such    a    machine. 
However,  a  few  of  the  more  prob- 
able combinations  may  be  suggest- 
ed.     The    bare    light    will    seldom 
lie  used,  because  its  intrinsic  bril- 
liancy   would    probably   bo    great 
enough     to    produce    a     blinding 
glare,  which  would  interfere  with 
the   free  movement  of  the  actors. 
A  diffusing  fabric  of  woven  glass 
wool,    placed    very    close    to    the 
source,   will   einil    Hie   hardesl    de- 
sirable  lighl    for    most  purposes. 
For   medium   hard    lighl,   of   vari- 
able quality,  a  diffusing  door,  of 
variable    clarity,   could    be   fitted 
over  I  he  lighl  box.     A  soft  illum- 
ination  of  any  quality   might  be 
obtained   by   throwing  hard  lighi 
upon   a    large  diffusing   reflector. 
The   largesl    movable  units  oughl 
uol   lo  he  clumsily  heavy,  probably 
a  limiting  mass  will  he  reached  ill 
the  neighborhood  of  three  hundred 
pounds.     Within   this  limit,  it   is 
already  possible  to  obtain  a  flux 
of  nearly  a   million   lumens  from 
one  unit.  (About  eighty  thousand 
mean     spherical     candle    power). 
This  is  a  power  of  a  good  order  of 
magnitude  for  studio  work.  While 
the  brightness  to  which    the    set 
ought    to   he   illuminated    will    al- 
ways he  related  to  the  sensitivity 
of  the  emulsion,  and  the  area  of 
the  lens  aperture,  il  has  a  proper 
upper  limit.  The  eye  distinguishes 
brightness    differences   most   deli- 
cately   when    it     is    adapted    to    a 
held  brightness  of  about  one  lam 
herl.      A    field    brightness   of    ten 
lainberts  is  uncomfortable.    Large 
bright  areas,  llien,  ought  never  to 
be  as  bright   as  ten   lainberts.  and 
for  the  best  composition  should  lie 
alioui    one    lambert    bright.     Be- 
tween    one     and     (wo     thousand 
lumens   per  square   foot    will   pro- 
duce a  brightness  of  the  order  of 
a   lambert   in  light  colored  objects. 
Such   an   intensity  might    be    ob- 
tained   by   a    million    lumen    light 
over   five   hundred   square    feet    of 
scene,     or     about      the     area     the 
camera  angle  subtends  at  sixteen 
yards.     For  the  incident  illumina- 
tion    would     be     two     thousand 
lumens    per   square    fool    and.   ;is- 


ERICAN     CINEMATOGRAPH 


ER 


March,  1924 


l«^V^ ■ .,„ 


,.->->.  -       ■-] 


suming  an  average  reflection  fac- 
tor of  forty-five  per  cent  in  the 
light  colored  objects,  there  will  be 
reflected  nine  hundred  lumens  per 
square  foot  or  about  one  lumen 
per  square  centimeter,  or  one 
lambert. 

Camera  Corrects  Discrepancy 

This  visible  intensity,  of  course, 
will  bear  only  an  approximate  re 
lation  to  the  photic  brightness. 
Ordinary  cine  film  is  most  sensi- 
five  just  at  the  violet  limit  of 
vision,  records  readily  far  into  the 
ultra  violet,  and  is  Hardly  affected 
by  surfaces  which  emit  green  or 
yellow  light.  (Curve  A.)  The 
retina  feels  violet  vaguely,  green 
and  yellow  as  bright,  and  extreme 
red  vaguely.  (Curve  D.'l  This 
discrepancy,  however,  is  partially 
corrected  in  Hie  camera  (Curve 
V  i  for  a  glass  lens  system  is  in- 
creasingly opaque  to  the  ultra 
violet  beyond  the  limit  of  vision, 
and  usually  transmits  no  energy 
of  less  wave  length  than  three 
hundred  thirty  or  forty  millimi- 
crons (Curve  IV).  But  another 
factor  often  makes  for  increased 
discrepancy.  The  energy  distri- 
bution of  the  light  source  is  never 
uniform  over  the  spectrum  (Curve 
C).  If  Hip  source  emits  more  of 
its  energy  in  the  frequency  to 
which  the  camera  is  sensitive  than 
in  the  region  to  which  the  eye  is 
sensitive,  invisible  photic  intensi- 
ties are  exaggerated.  CJnder  the 
conditions  of  sensitivity  and 
energy  distribution  of  source  laid 
down  in  Diagram  One,  a  part  of 
the  set  reflecting  a  given  amount 
of  energy  will  appear  brightesl  lo 
the  camera  when  the  selective  re- 
flecting power  is  distributed  along 
(he  spectrum  in  Hie  manner  indi- 
cated by  the  Curve  G.  Graphical- 
ly expresspd,  photic  brightness 
may  be  described  as  the  relation 
between  an  area  with  the  dimen- 
sions (Y)  of  intensity  of  reflec- 
tion of  the  pari  of  the  sel  under 


>^/y>HM%nfti] 


consideration  and  (X)  the  spec- 
tral distribution  of  this  intensity, 
and  an  area  of  the  same  sort  of 
dimensions  (like  the  area  under 
G)  which  describes  a  surface  re- 
ceiving the  same  amount  of  energy  I 
per  square  centimeter  from  the 
light  source,  and  reflecting  it  so 
as  to  make  the  greatest  possible 
impression  upon  the  emulsion. 
Brightnesses,  as  the  cameraman 
sees  them  while  he  is  taking, 
graphically  analyzed  in  a  similar 
manner,  would  all  relate  to  the 
area  under  the  Curve  10.  which  is 
the  familial'  visibility  curve  as 
distorted  by  the  energy  distribu- 
tion   of  the  illuininanl. 

When  the  extreme  photic  reflec- 
tion limit  of  Hie  set  is  plotted  to 
the  same  scale  as  Hie  extreme 
brightness  limit  (Diagram  II)  the 
degree  of  correspondence  between 
photic  and  visible  brightnesses 
irregularly  distributed  over  the 
whole  set  may  be  estimated,  by 
considering  the  relation  of  the 
area  of  overlap  (across  hatched 
in  the  diagram)  to  either  of  Hie 
primary  areas  (Area  under  G,  and 
area  under-  E).  Under  Hie  condi- 
tions laid  down  in  the  initial  dia- 
gram, the  light  used  would  have 
been  about  eighty-four  per  cent 
invisible,  the  light  seen,  eighty  per 
cent  unused.  When  it  is  consid- 
ered that  the  cameraman  com- 
poses in  brightness  intensities  to 
at  least  as  great  an  extent  as  he 
composes  in  line,  the  magnitude 
of  the  task  that  this  condition  im- 
poses upon  his  memory  and  imag- 
ination may  be  realized.  It  seems 
especially  unfortunate  that  ac- 
cepted practice  should  lay  great 
stress  upon  the  usefulness  of 
aclinic  invisible  light. 

Filtering   Out   Ultra   Violet 

Indeed  it  appears  desirable  that 
Hie  area  in  which  Curves  K  and  <i 
overlap  should  be  increased  by 
filtering  out  as  much  of  the  ultra 
violet  as  the  sensitivity  of  the 
camera  permits.  With  orthochro- 
niatic  film,  and  a  filter  like  (he 
Wratten  Aero  No.  1,  some  such 
result  as  Diagrams  .'!  and  4  indi- 
cate is  possible,  at  a  cost  of  a  con- 
siderably increased  exposure.  All 
adequate  lighting  equipment,  how- 
ever, should  be  powerful  enough 
to  force  a  good  photic  flux 
through  a  filter  opaque  to  ultra 
violet   energy. 


March,  1924 


AMERICAN     CINE  MATOGRAP  HER 


Twenty-five 


A=^ 


fhrnea 


Arthur  Edeson,  Philip  H.  Whitman  and  Kenneth 
MacLean,  all  A.  S.  C.  members,  have  finished 
cinematography  on  Douglas  Pairbank's  "The  Thief 
of  Bagdad."  Arthur  is  busy  supervising  t lie  making 
of  release  prints  while  Whitman  and  MacLean  are 
enjoying  well-earned  vacations  before  accepting  any 
of  the  numerous  offers  thai  have  been  extended  to 
them. 

■X-         *         -x- 

•John  Seitz,  A.  S.  ('.,  who  is  abroad  filming  Hex 
Ingram's  production  of  "The  Arab."  writes  thai 
Tunis  is  a  very  interesting  place  with  its  quaint  peo- 
ple and  scenes,  but  while  he  likes  it  very  much, 
there  is  no  place  like  home.  After  completing  work 
in  Tunis,  the  Ingram  unit  will  go  to  Paris  for  the 
interior  scenes  so  that  the  entire  production  will 
he  made  abroad. 

Floyd  Jackman,  A.  S.  C,  is  filming  Roy  Clement's 
production  of  "Somewhere  in  Kansas,"  a  six-reel 
coniedv-drama  for  Hal  Roach. 


Ross  Fisher,  A.  S.  C,  has  completed  camera  work 
on  the  all-star  Emory  Johnson  production,  "Swords 
and  Plow  Shares." 

H.  Lyman  Broeniug,  A.  S.  ('.,  is  in  San  .Mateo. 
Calif.,  where  he  will  film  the  .Max  Graf  production, 
"The  Wise  Son,"  directed  by  Phil  Rosen  and  with 
Alec  Francis,  Eugenie  Besserer,  Fstelle  Taylor. 
Brvant  Washburn  and  Fthol  Wales  in  the  cast. 


George   Meehan,  A.   S.   C,   is   filming  -lack    White 
comedies  al    the  Fine  Arts   Studios. 


Victor  Milner,  A.  S.  ('.,  has  wound  up  the  suiter- 
vision  of  the  making  of  the  release  prints  for  Fred 
Niblo's  production  of  "Thy  Name  is  Woman." 
*•     *     « 

Robert  Newhard,  A.  S.  C,  is  filming  the  current 
Nell  Shipman  production. 


John  W.  Boyle,  A.  S.  C,  writes  from  Rome  that 
actual  shooting  on  Goldwyn's  production  of  "Ben 
Hur"  is  expected  to  begin  shortly.  Boyle  is  chief 
cinematographer  on  the  big  production. 

*  *     * 

Norbert  Brodin,  A.  S.  C,  has  wound  up  the 
camera  work  on  Frank  Lloyd's  production  of  "The 
Sea  Hawk"  for  First  National. 

*  *      * 

Dan  Clark,  A.  S.  (\,  had  no  sooner  finished  the 
photography  on  "Fine  and  Dandy,"  starring  Torn 
Mix,  than  he  began  preparations  for  the  filming  of 
"The  Trouble  Shooter,"  also  starring  Mix. 

*  *     * 

Francis  Corby,  A.  S.  C,  is  adding  cinematographic 
Superiority  to  Hamilton  White  comedies  af  the  Fine 
Arts  Studios. 

•X-  -X-  * 

Frank  B.  flood.  A.  S.  C.  is  walking  without  a 
limp  once  more  after  having  his  fool   speared  with 

the  toe  of  a  tripod. 

*  *     * 

Robert  Kurrle,  A.  S.  C,  evidently  has  passed  a 
busy  month  in  Northern  Africa  as  cinematographer 
with  the  Edwin  Carewe  company  as  no  word  has 
been  received  from  him  within  thai   lime. 

*  *      * 

William  Marshall,  A.  S.  C,  has  finished  the  film- 
in,"  of  "In  Fast  Company,"  starring  Richard  Tal- 
madge  lor  Carlos  productions  and  directed  by  .lames 
Home. 


Paul  P.  Perry,  A.  S.  C.,  has  finished   the  cinema 
tography   on    Lambert    Hillyer's    production    af    the 

Tnce  Studios. 

*  *     * 

Jackson  J.  Rose,  A.  S.  C,  has  completed  camera 
work  on  his  latest  production  at  Universal  City. 

*  -X-  * 

Charles  Kosher,  A.  S.  C,  has  been  engrossed  in 
the  task  of  supervising  the  release  prints  for 
"Dorothy  Vernon  of  Haddon  Hall,"  (he  latest  pro 
duction  in  which  he  photographed  Mary  Pickford. 

*  *     * 

Homer  Scott,  A.  S.  C,  has  been  spending  busy 
days  in  attending  to  detail  work  incident  to  the 
buying  of  the  new  A.  S.  C.  headquarters  in  the  new- 
Guaranty  building  in  Hollywood. 

*  *     * 

Kenneth  MacLean,  A.  S.  C,  is  the  latesl  A.  S.  C. 
member  to  join  the  proud  father  class.  Little  -lean 
MacLean  came  to  join  the  MacLean  family  circle  on 
February  4th.  Both  Jean  and  Mrs.  MacLean  are 
progressing  wonderfully,  thank  you.  Meanwhile. 
Kenneth's  smile  is  wider  than  ever. 
*       *       * 

The  Diihem  Motion  Picture  Manufacturing  Com 
pany  in  San  Francisco  has  moved  to  its  new  loca- 
tion, 135  Hayes  street,  in  that  city. 

L.  Guy  Wilky,  A.  S.  C,  is  in  New  York  pholo 
graphing  the  latest  William  de  Mille  production. 


Twenty-six 


AMERICAN     CINEMATOGRAPHER 


.March.   1>>L'4 


4^Miii;ri[Minii]!iiiiJi]Mfi^Etf iiuiMtuniiiMiiiiiiiihiiniMiiiiJHifUiiiiiiiMJiiiniiirMMTiiJiiijrTTiiiiiiiuniiiu^iiiHHiriuniiiniiiiMNiLiuiMfiiiiiiutj^iiiL tiHiHiiiiMiiiiiiiiiiuisFuntrtiiKiiMDMiiinunimiiNiEkiitEiiLiiiit iii^mLiniiuriHiiiiiiniH iMiMiiHjjiiiiiiLaiuiiMMinmiiunistHjniLKMittiii nun itmiLUiiHuiuMnik iiiiiiiiiiiiiuniiHiiiiino 

m  m 


RELEASES 

January  15th,  1924  to  February  17th,  1924 


TITLE 


PHOTOGRAPHED  BY 


'Love's  Whirlpool" 
'The  Love  Master" 
'Woman  to  Woman" 
"The  Humming  Bird" 

Name  the  Man" 
"Through  the  Dark" 
"Hoodman    Blind" 
"Alimony" 
"Thundergate" 

"The  Age  of  I  )esire" 

'The   Man  from  Wyoming" 
"The   Heritage  of  the   Desert" 
"Sporting  Youth" 
"The  Extra  Girl" 

"Abraham   Lincoln" 

"Let  Not  Man  Put  Asunder" 
'Cause  for  Divorce" 
"The  White  Panther" 
"The   Net" 
"No  More  Women" 
"The   Average   Woman" 
'Pied  Piper  Malum" 
"Painted  People" 
'The  Trail  of  the   Law " 
'The   Breathless    Moment" 
Just  Off  Broadway" 
'Flaming  Barriers" 
'Not  a  Drum  Was   Heard" 
'The    Fool's   Awakening" 
"The  Shadows  of  the  East" 
I  .nlies   to   Board" 
"When   a    Man's  a    Man" 

"The  Stranger" 

"The   Marriage   Circle" 

'Jack  O'Clubs" 

"The  Stranger  from  the  North' 

"Marry  in  Haste" 

'Week    End   Husbands*' 

'Men  Who  Forget" 

'The  White  Sin" 

'My  Man" 

'Daddies" 

'Painted    Women" 


Stephen  S.  Norton,  member  A.  S.  C. 

Charles  E.  Dreyer 

Claude  McDowell 

Harry  Fishbeck 

Charles  Van  Enger,  member  A.  S.  C. 

L.  W.  O'Connell  and  Al  Siegler 

George  Schneiderman,  member  A.  S.  C. 

Joseph  Dubray,  member  A.  S.  C. 

S.   E.   Landers,  member  A.  S.  C. 

and  Robt.   DeGrasse 
Chester  Lyons 
Mei'ritt  Gerstad 
('.   Edgar  Schoenbaum 
Clyde  De  Vinna 
Homer  Scott,  member  A.  S.  C. 
Robert  Kunle  and  H.  Lyman   Broening, 

members  A.  S.  C. 
Nicholas  Musuraca 
Not  Credited 
Not  Credited 
Geo.  Lane  and  lien   Miggens 

Not    Credited 

lack    Brown   and    Neil    Sullivan 

Ernest  Haller,  member  A.  S.  C. 

R.  J.   Bergquist 

Alfred  Gondolfi 

Wm.  Thornley 

(i.    ().    Post 

Ph. is.  (i.  Clarke 

Joe  August 

Allan   Siegler 

Jules   Cronjager 

Dan  (.lark,  member  A.  S.  C. 

Ned  Van  Buren,  member  A.  S.  C. 

and   1  larold  Janes 
Faxon   Dean  and    P.   Guy   Wilky, 

members  A.  S.  C. 
Charles  Van  Enger,  member  A.  S.  C. 
Wm.  Thornley 

Ned  Van  Buren,  member  A.  S.  C. 
Not  Credited 
Not  Credited 
Leslie   F.vcleigh 

Max   Du   Pont,  member  A.  S.  C. 
Steve  Smith,  Jr.  member  A.  S.  C. 
John  Stumar.  member  A.  S.  C. 
Stephen   S     Norton,  member  A.  S.  C. 


a 


1 


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ama 


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K 


HOW  TO  LOCATE  MEMBERS  OF  THE 

American 
Society    of    Cinematographers 

Phone  Holly  4404 


OFFICERS 


•lames  ( \  Van  Trees 
John  F.  Seitz 
Charles  Van  Enger 
Victor  Milner 
Frank  15.  Good 
Philip  II.  Whitman 


President 

First  Vice-President 

Second  Vice-President 

Third  Vice-President 

Treasurer 

Secretary 


Gaetano  Gaudio 

Victor  Milner 

Walter  Griffin 
James  Van  Trees 
Reginald  Lyons 


BOARD  OF  GOVERNORS 

Frank  B.  Good 
Fred  W.  Jackman 
Jackson  J.  Rose 
Charles  Stumar 
Homer  A.  Scott 


Paul  Perry 
Charles  Van  Enger 
George  Schneiderman 
Philip  H.  Whitman 
L.  Guv  Wilkv 


Abel,    David — with   Warner   Brothers. 

Arnold,    John — with   Viola    Dana,    Metro   Studio. 

Barlatier,    Andre — 

Barnes.    George    S. — with    Cosmopolitan.    New    York. 

Beckway,  Wm. — with  Capt.  Corlett,  Mexico. 

Benoit,    Georges — Belasco   Prod.,   United    Studios. 

Broening,     H.     Lyman — Photographing    "The    Wise    Son," 

Max  Graf  Prod.,  San  Mateo. 
Boyle,  John  W. — with  Charles  Brabin,   Rome. 
Brodin.    Norbert   F. — Frank   Lloyd    Prods..    First    National, 

United     Studios. 
Hrotherton,   Joseph — with   Fox. 

Brown,    Karl — with    James   Cruze,    Lasky    Studio. 
Cann,    Bert — Europe, 
('lark,   Dan— with  Tom  Mix,   Fox. 

Corby,   Francis — with  Hamilton-White.    Fine  Arts  Studios. 
Cowling.    Herford    T. — Travel    Pictures,    Asia. 
Cronjager,    Henry — with    Lasky    Studio.    Xew    York. 
Dean,     Faxon     M. — with    Joe    Henabery,     Lasky    Studio. 
Doran.     Robert    S. — with    Roach    Studio. 
Dored.     John — Scenic.     Russia.     Pathe. 
Dubray.    Joseph    A. — with    R-C    Studio. 
Dul'ar,    E.    B. — with    Warner    Brothers. 
Du   Pont,   Max  B.— Tahiti. 
Edeson,     Arthur — with     Douglas     Fairbanks,     Fairbanks- 

Pickford    Studio. 
Evans,    Perry — 

Fildew,     William — with    living    Cummings,     Universal. 
Fisher,  Ross  G. — with  A.  J.   Brown  Prods.,   Russell  Studio. 
Gaudio,  Tony  G. — with  Norma  Talmadge,  Joseph  Schenck 

Productions.    United    Studio. 
Gilks,   Alfred— with    Sam   Wood.    Lasky   Studio. 
Glennon,    Bert — with    Cecil    B    DeMille. 
Good.    Frank    R. — with    Jackie    Coosran.    Metro   Studio. 
Granville,   Fred   L. — directing.  British  International  Corp.. 

London. 
Gray,    King — Wilnat    Studios. 
Griffin,    Walter    L.— 
Guissart,    Rene— 

Haller.    Ernest — with    Famous    Players-Lasky. 
Heimerl.    Aiois  G. — with   Jim   Campbell. 
Jackman,    Floyd — with   Fred   Jackman,    Roach    Studio. 
Jackman.    Fred    W. — directing.    Roach    Studio. 
Koenekamp.    Hans    F. — with    Larry    Senion. 
Full.    Edward — with    Universal. 
Kurrle.   Robert — Edwin  Carewe.   Africa. 
Landers.    Sam — with   First   National,   United   Studio. 


-with    Harold    Lloyd    Prods.,    Hollywood 


Vitagraph. 


Fine     Arts 


Prods..    Mayer   Studio. 
Hillyer.    Ince   Studio. 


gott,    Universal   Studio. 
Fkkt'oid      I  ickford-F  iir- 


Lundin,     Walter- 
Studios. 

Lyons.    Reginald   E. — with  J.   Stuart    Blackton, 

MacLean,  Kenneth  i ;. 

Marshall,    William — with  Carlos  Productions. 

Meehan,     George — with     Jack     White     Corp., 
Studio. 

Milner,    Victor — with    Fred    Niblo,    Clune's    Studio. 

Morgan.  Ira  H. — Marion  Davies,  Cosmopolitan.  New   Sork 

Newhard,  Robert  S. — Nell  Shipman   Prods.,   Coolin,  Idaho. 

Norton,   Stephen  S. — with  Ince  Studio. 

'  >verbaugh,    Roy   F. — New    York    City. 

Palmer,    Ernest    S. — 

LePicard,    Marcel — New   York. 

Perry,    Harry — with    Preferred 

Perry,   Paul   P. — with    Lambert 

Polito,  Sol— 

Ries,  Park,  J. — 

Rizard,  Georges — 

Rose.   Jackson — With    King   Bag 

Rosher,     Charles— With     Mary 
banks   Studio. 

Schneiderman,   George — Fox  Studio. 

Scott,    Homer — 

Seitz,    John   F. — With   Rex   Ingram,    Europe. 

Sharp,    Henry — With    Ince   Studio. 

Short,    Don — With    Fox    Studio. 

Smith,  Steve,  Jr. — With   Vitagraph  Studio. 

Steene.  E.  Burton — New  York. 

Stumar,   John — With   Wm.    Seiter.    Warner   Bros. 

Stumar,   Charles — with  Hobart  Henley,  Universal. 

Thorpe.    Harry — 

Tolhurst,    Louis    H. — "Secrets   of  Life,"   Microscopic    Pic- 
tures.   Principal    Pictures   Corporation. 

Totheroh,      Rollie     H.— With      Charlie      Chaplin,      Chaplin 
Studio. 

Van    Buren,  Ned — In   New  York. 

Van  Enger,  Charles — with  Ernst   Lubitsch.    Warner  Bros. 

Van    Trees,  James — with    John    Francis    Dillion,     United 
Studios. 

Walter,   R.   W.— With   Mack    Sennet    Productions,    Sennett 

Studio. 
Warrenton.   Gilbert— With  First   National.   United   Studios. 
Whitman.    Philip    H.— 
Wilky,     L.    Guy— With    William    De    Mille,     Lasky    Studio. 


Lockwood.    J.    R. — 

Edison.    Thomas   A. — Honorary    Member. 
Paley.    William    "Daddy" — Honorary    Member. 
Webb,   Arthur  C. — Attorney. 

Meetings  of  the  American  Society  of  Cinematographers  are  held  every  Monday  evening.  On  the  first  and  the  third 
Monday  of  each  month  the  open  meeting  is  held;  and  on  the  second  and  the  fourth,  the  meeting  of  the  Board  of 
( lOvernors. 


LOYALTY 


PROGRESS 


ART 


GlIIIIIIIIIIIIII  ...  111111!!  Ullllllll  lllllllllllllllllll  I  III! !!!l!l!!!!!ll!!lllli!ll!!!lll!lll!!!l!llllllllllllllllll!IIIIII!!!l!!lll!INI!!!lllll!llll!llllllllllIIII!lll! 


T>ID    YOU    NOTICE! 


That  SIX  MITCHELL-MADE 
pictures  were  showing  during 
the   same    week    in  six  of    the 


leading  down  town  Los  Angeles 
Theatres? 

There  must  be  a  reason ! 


MITCHELL  CAMERA  CORPORATION 
6025  Santa  Monica  Boulevard  Los  Angeles,  Cal. 


April,   1924 


25   Cents 
A    Copu 


American 
Cinematographer 


Published  by  ike  American  Society  of  Cinematographers,  Inc. 


This  Issue: 
CThe  Asylum 

By  E.  O.  Blackburn 

Staff  Organization  Is  Most  Efficient 

By  Harry  D.  Brown 

Signalling  ILHth  Inuisible  Light 

By  Herbert  S.   Marshutz,  B.  A. 

Pictures  and  TTloney 

By  Douglas   E.  Brown 


PUBLISHED  IN       HOLLYWOOD        CALIFORNIA 


ince  the  Final  Verdict  Of 
the  Cinematographer  s  Art 
Comes    From     the    Public 


\m^ 


And        Since      the       Public 
See     Only     the     Print 


Isn't       It    Apparent      that      the 
Prints  Should  Be  Made  With 
the        Cinematographer's 
Cooperation       And      Advice 
In      Hollywood? 


Shrnc/crref jPilm  IrahomfarJes 

*  fu.  WAX.  /W™.  e  -SMTompkin*  ** 

Sewartf and Romauto  Streets 
Hollywood  California 


Vatut  MMcJeo/rruf 

Phone 

Ho  ffu  'wo-jff 

rSoti. 


fSfai^cfarcf  'Pni^ 


J 


Vol  5  APRIL,  1924  No.  1 


American 
Cmematographer 

The  Uoice  of  the  motion  Picture  Cameramen  of  America;  the  men  who  make  the  picture* 

FOSTER  GOSS,   Editor  and   Business   Manager 

Board   of    Editor*— VICTOR    MILIMER,    H.    LYMAN    BROENING,    KARL    BROWN,    PHILIP    H.   WHITMAN 

ALFRED    B.    HITCHINS,   Ph.    D..    F.    R.    P.   S.,    F.    R.    M.    S.,    F.    C.    S.,    Associate    Editor    and    New   York 

Representative,     33     West    60th     Street,     Room    602,    New    York    City 


Table    of  Contents 

Page 

The   Asylum— By    E.    O.    BLACKBURN                .              .              .  .4 

Staff  Organization   Is  Most  Efficient— By   HARRY  D.   BROWN           .  5 

Signaling    With   Invisible  Light— By   HERBERT  S.   MARSHUTZ,  B.  A.        6 

Pictures    and    Money— By    DOUGLAS    E.    BROWN                     .                 .  7 

Ideal       Cmematographer — Director       Relationships                      .                 .  .8 

Three  New  Members  on  A.  S.  C.  Roster                ....  9 

The  Editors'  Corner  .  .  .  •  •  •  .10 

A.  S.  C.  Members   Who  Are  Making  Camera  History  .  .  12 

Camera    Circles   Aroused    Over   Photographic    Tax  .  .  13 

Dr.  Alfred  B.  Hitchins  Establishes  Headquarters  in  New   York  City  .       15 

Releases  .  ...  .  .  .  .  .35 

In    Camcrafornia  .  .  .  .  .  .  .26 

A.   S.    C.    Roster  .......  27 


An   educational    and    instructive   publication,   espousing   progress   and    art   In    motion   picture   photography. 
Published   monthly  by  The  American  Society  of  Clnematographers,   Inc. 

Subscription  terms:     United  States,  $3.00  a  year;  Canada,  $3.50   a   year;    foreign,   $4.00   a   year;   single   copies,  25   cents. 
Advertising  rates  on   application.  Telephone,    Hollywood   4404 

Los  Angeles,  California 
(Copyright,   1924,   by   The   American   Society  of   Clnematographers,    Inc.) 


Four 


AMERICAN     C INEM ATOGR APHER 


April,  1924 


The 


Asylum 


Bij  E..  O.   Blackburn 


Sales   Service   Manager, 
Rothacker-Aller     Laboratories 


The  IDail  o'the  Lab 

from  one   u?ho  knows 

tuherof  he     speaks 


A  few  days  ago,  in  the  office  of  a  west  coast  pro 
dnction  executive,  I  chanced  to  see  a  long  telegram 
-vhich  Mr.  Executive  was  sending  to  his  chief  in 
New  York.  The  telegram  was  brief — only  about  five 
hundred  words — and  at  the  very  beginning  it  pro- 
claimed :  "Have  turned  over  negative  'Asleep  and 
Awake'  to  Asylum  today — " 

"I  thought"  (feebly  I  said  it) — ''I  thought  that  we 
were  to  have  the  negative  of  'Asleep  and  Awake !' — 
how  about  it?" 

Title  (Executive)  :  "Sure! — That's  just  what  I'm 
telling  them  in  New  York.  Can't  you  read?"  as  he 
pointed  to  the  first  line  of  the  telegram. 

"Hut" — I   butted — "Asylum!" — How  come?" 
The  Lab  Asylum 

"That" — he  hissed — (did  yon  ever  try  to  hiss 
'that'?) — "is  the  code  word  for  Laboratory." 

Oh,  battered,  bruised  and  bleeding  pride!  Has  it 
come  to  this?  Shades  of  George  Eastman!  But 
then — Lincoln,  too,  was  a  martyr. 

Asylum! — We,  of  the  laboratory,  have  known  the 
truth  for  years— Is  there  a  traitor  among  us?  Have 
we  been  betrayed  to  the  producers? — I  >o  they  sus- 
pect?— Oh,  happy  day  for  us  when  their  suspicion 
must  turn  to  knowledge — when  we  may  replace  our 
chief  chemist  with  a  psychopathic  specialist! 
Admit  Cause 

But — bless  their  hearts — (the  producers,  I  mean  I 
they  openly  admit  to  the  wide  world  that  there  is 
cause  for  the  effect. 

Recently,  at  the  Los  Angeles  premiere  of  "Rosita," 
Fred  Niblo  (as  per  usual)  acted  as  Master  of  Cere- 
monies. At  the  conclusion  of  the  picture,  an  ar- 
tistic gem  (prints  by  Rothacker-Aller — Adv.  i  Mr. 
Niblo  introduced  Miss  Pickford  to  about  three  thou- 
sand of  her  millions  of  admirers. 

In  his  eloquent  preamble  i  Mr.  Niblo  is  even  elo- 
quent on  the  golf  course) — the  great  director  gave 
Our  Mary  a  lot  of  inadequate  praise  and  interpo- 
lated a  few  scintilating  sentences  which  meant  a 
lot — to  me. 

Niblo  Speaks 

"Yon  folks  out  front  there,"  he  said,  "have  no  con- 
ception of  what  a  picture  goes  through  before  it 
comes  through  to  you." 

"The  film  is  ground  through  a  camera  within  a 
week  after  it  is  shipped  here  from  Rochester — then 
— the  panic  is  on  !" 

Council  for  the  defense  rests.  The  witness  will 
continue — 

Panic   Begins 

"The  panic  is  on  ! — The  film  is  sent  to  the  labora- 
tory and  wound  on  racks — then  it  is  submerged  in 
a  couple  of  magic  tanks  and  a  half  hour  later  it 
laughs  at  the  eighteenth  amendment  as  it  whirls  its 
circular  race  on  the  big  dry-drums.  It  is  then  pol- 
ished and  inspected  for  minor  imperfections — and 
inshed  to  the  studio.  Here  it  is  greeted  and  re- 
ceived by  The  Wrecking  Crew.  And  what  a  jolly 
and  playful  little  congregation  it  is! — There  in  the 


darkened  projection  room  yesterday's  "rushes"  un- 
wind before  our  eyes. — The  director,  the  cameramen, 
the  star,  the  script  clerk,  the  electricians,  the  art 
director — all  are  there  to  eulogize  (in  negative 
terms)   the  positive  artistry  of  the  laboratory. 

A  medium  long  shot  of  the  entire  set  —  Mute  — 
helpless — alone  in  the  camp  of  the  enemy. 
A  Fly  in  His  Soup 

The  Director  (to  the  script  clerk) — "Why — it 
seems  to  me  that  DeRendeau  stood  closer  to  the  table 
as  he  accused  Felice — He  can't  reach  the  letter  from 
there! — I  wonder  if  the  lab  pulled  him  back?  (The 
script  clerk  is  discreetly  silent) — she  switches  on  the 
little  red  light — glances  at  her  notes — Scene  24UA- 
Take  3.  Her  notes  know — Ah,  there  is  the  answer! 
DeRendeau  WAS  (loser  to  the  table  but  Woolfus, 
the  art  director,  had  sold  them  the  idea  of  having 
the  villain  stand  back  about  eighteen  inches  so  as  to 
permit  the  symetric  introduction  of  a  big  cloisonne 
vase  in  the  background  composition.  But — Woolfus 
gets  his  seven  hundred  and  fifty  a  week  and  the  labo- 
ratory  las  usual)  gets— well! 

Felice  Flusters 

•'Heavens!" — This  celestial  wail  from  Felice — the 
star.  "I  just  insist  that  you  change  labs,  Mr.  Griff- 
man  ! — Look  at  those  circles  under  my  eyes — why — 
they're  burning  me  up. —  I  look  more  like  forty  than 
twenty-four!"  (The  camera,  dear  reader,  is  just 
about  as  truthful  as  any  other  link  in  the  chain  of 
picture  production.) 

And  Felice  continues  as  maestro  of  the  anvil 
chorus — 

"Why — I  simply  can't  understand  it — I'm  sure 
it's  another  case  of  over-developmeut" — and  so  on — 
and  on  and — on — 

But  I  don't  you  love  that — the  way  I  butt  in  every 
now  and  then?)  I  happen  to  know — because  I  saw 
her — that  the  night  before  we  so  treacherously  de- 
ceived Felice — she  was  one  of  a  Sextet  from  Loosia 
who  (without  the  help  of  their  press  agents)  let  all 
and  sundry  present  at  The  Temptation  know  that 
THEY  were  having  a  great  time — and  even  if  they 
didn't  get  to  bed  until  the  sky  was  pinking  up  a  bit 
— well — "Griffman  will  simply  have  to  hold  the  set 
—that's  all! 

Griffman  did. 

But  (there  I  go  again  I  this  is  what  happened 
meantime. 

The  great  director  was  on  the  set  and  the 
"Coopies"  were  warming  up  and  casting  a  sepul- 
chural  glow  hither  and  yon — when  in  pops  the  as- 
sistant to  say  tl  at  Felice's  maid  has  phoned  to  warn 
them  that  the  lovely  artiste  will  not  be  down  until 
eleven — Kleig  eyes — or  something  like  that.  Up 
goes  the  balloon — Griffman  (spiritually)  hits  the 
raftered  ceiling — then  comes  back  to  earth  with  a 
happy  thought. 

The  Lab  in  the  Breach 

"Hell!   (or  maybe  he  said  'well' — anyway,  it  was 
something  like  that),  "Phone   the  lab  and   tell    em 
(Continued  on   Page  21) 


April.    1924 

Staff  Organization 


AMERICAN     CINEM  ATOGR  APHER 

Former  President  Of  E.  I.  E.  S. 


Five 


Is  Most  Efficient 


By  Harry  D.  Brown 


At  a  meeting  of  the  Illuminat- 
ing    Engineers'     Society    at    the 

Hollywood  Athletic  Club  on 
Wednesday  night,  February  27, 
Harry  D.  Brown,  former  presi- 
dent of  thai  body,  gave  a  most 
inleresting  talk  in  which  he  dealt 
with  the  role  played  by  illuminat- 
ing engineers  in  the  motion  pic- 
ture world  and  the  necessity  for 
members  of  that  organization  to 
grow  and  progress  with  the  busi- 
ness. .Mr.  BroAvn's  speech  follows: 

"I  am  afraid  we  do  not  fully 
realize  our  responsibility  and  ob- 
ligation to  the  business  in  which 
we  are  engaged,  for  we  not  only 
head  a  most  important  and  essen- 
tial department  in  the  industry, 
bill  have  the  largest  field  in  which 
to  inaugurate  efficiency. 

".Much  has  been  written,  and  a 
tii-eat  deal  more  said  on  this  sub- 
ject, very  little  of  which  has  any 
real  value,  for  efficiency,  as  known 
in  the  commercial  industry,  does 
not  apply  to  motion  pictures,  for 
the  good  and  sufficient  reason  that 
every  pari  of  the  production  of  a 
motion  picture  is  a  vision  of  the 
director,  a  dream  of  the  scenario 
writer,  an  experiment  by  the  pro 
ducer,  a  development  by  the  di- 
rector and  an  invention  by  the 
mechanical  departments,  which 
endeavor  to  carry  out  and  perfect 
the  ideas  of  the  director  and  sce- 
nario writer.  It  is  very  easy  to 
see  that  this  can  not  be  done  by 
any   rules   of   mathematics. 

"In  an  industrial  institution 
the  development  of  an  article 
precedes  (he  production,  which  is 
evident  in  the  automobile  manu- 
facturing business,  where  efficien- 
cy reaches  the  nearest  point  of 
I>crfection,  each  unit  being  the 
same  throughout  the  entire  pro- 
duction. Machines  are  designed 
for  rapid  manufacture  which  is 
only  possible  when  the  article  is 
the  same  throughout  a  period  of 
years. 

Every  Picture   Different 

"Every  picture  is  necessarily 
different;  the  story,  the  setting, 
and  the  action  must  have  some- 
thing new  introduced  to  have  any 


Harry  D.    Brown 


commercial  or  entertaining  values, 
so  that  it  does  not  seem  possible 
to  organize  the  motion  picture  in- 
dustry on  a  strictly  commercial 
basis.  However,  this  does  not 
mean  that  the  actual  production 
of  a  picture  can  not  be  done  on 
more  efficient  lines  than  hereto- 
fore. This  can  be  done  by  intelli- 
gent organization;  and  this,  boys, 
is  your   responsibility. 

Artificial  Lighting 
"We  have  been  organized,  I 
think,  four  years,  and  while  we 
have  done  a  great  many  things 
that  have  helped  the  producer  and 
have  been  a  credit  to  the  society. 
I  do  not  think  we  have  accom- 
plished as  much  as  we  could  have. 
1  do  not  think  we  are  quite  con- 
scious of  the  importance  of  the 
art  of  artificial  lighting.  We  know 
it  takes  lamps  and  sometimes 
many  lamps  of  various  kinds  to 
light  a  set,  but  do  we  always  give 
serious  thought  to  what  the  results 
are  going  to  be?  Do  we  figure  out 
ways  and  means  to  improve  our 
photography?  Do  we  cooperate 
fully  with  the  cameramen  and  di- 
rectors to  assist  them  in  the 
carrying  out  of  their  ideas;  for, 
after  all,  none  of  us  knows  it  all, 
and  you  will  find  that  the  best 
cameramen  in  the  business  are  the 


Points  Out  Efficiency   Basis  For 

Motion     Picture     Production 

men  who  will  welcome  sugges 
t ions  and  assistance  of  the  chief 
electrician.  It  has  been  my  pleas 
ure  to  work  with  some  of  the 
best  cameramen  that  this  business 
has  produced  and  I  have  always 
found  them  willing  and  glad  to 
cooperate. 

"I  believe  we  can  also  assist  the 
producer  by  showing  him  the  folly 
of  over-production.  We  are  all 
aware  of  the  excess  cost  in  pro 
duction  where  the  departments 
are  working  beyond  their  capacity. 
For  instance,  if  52  pictures  a  year 
are  required,  the  production 
should  be  spread  over  the  twelve 
months'  period  instead  of  trying 
to  crowd  52  pictures  out  in  nine 
months  and  doing  practically 
nothing  the  balance  of  the  year, 
which  seems  to  be  the  general 
trend  of  most  producers. 

Organization   Lost 

"Not  only  does  the  production 
cost  more  where  the  plant  is  run 
ning  beyond  its  capacity,  but  the 
organization  is  lost  during  the 
lay-off  or  slack  period.  Commer- 
cial industries  train  men  for  a 
certain  class  of  work,  even  going 
to  the  extent  to  send  them  to 
schools  to  teach  them  every  phase 
of  the  work  in  which  they  are 
going  to  engage.  In  the  mov- 
ing picture  industry,  about  the 
time  the  mechanic  becomes  of  some 
value,  lie  is  laid  off  during  tin1 
slack  time  and  seeks  employment 
in  some  other  line,  and  the  pro- 
ducer has  lost  his  investment,  and 
when  work  starts  up  again,  he 
hires  another  man,  teaches  him 
the  business  and  the  same  thing 
is  repeated. 

"The  question  has  often  been 
raised  by  the  management  as  to 
why  there  are  so  many  electricians 
on  a  certain  set,  especially  where 
there  are  times  when  all  of  them 
are  not  actually  kept  busy,  and 
yet  all  are  required  during  the 
greater  part  of  the  day. 

Proved  by  Figures 

"We  will   take  for  example,   a 

ballroom  set  where  there  are  100 

extra  people  at  an  average  cost  of 

$8.00  }>er  head  and  Avhere  the  pro 

(Continued  on  Page  18) 


Six 


AMERICAN     CINEMATOGRAPHER 


April  1924 


Signalling  IDith 
Invisible  Light 

And  now  conies  pictures  of 
messages  sent  through  space  with 
invisible  light ! 

Daguerro,  Eastman  and  the 
others  who,  over  a  half  century 
ago  pioneered  in  giving  the  world 
tlie  art  of  photography,  opened 
hitherto  unrealized  possibilities 
in  the  power  of  light.  Since  the 
infant  days  of  the  profession, 
great  developments  have  taken 
place,  improvements  in  lenses  and 
shutters  bringing  better  pictures. 
Increased  knowledge  of  the  mys- 
teries of  optics  and  the  possibil- 
ities in  light  have  made  photog- 
raphy a  science  in  itself. 

Light   Inventions  Beneficial 

New  inventions  enabling  men  to 
harness  and  control  light  in  vari- 
ous ways  have  proven  of  vast 
benefit  to  the  race.  Modern  genius 
and  new  understandings  of  light 
have  given  the  world  the  motion 
picture,  the  X-ray,  color  photogra- 
phy, telephotography,  improved 
telescopes,  the  profession  of  opto- 
metry and  its  better  understand 
ing  of  light  and  the  human  eye 
and  the  measurement  of  its  de- 
ficiencies. 

Invisible   Telegraphy 

From  a  Frenchman,  Charbon- 
neau,  residing  in  Belgium,  lias 
come  a  new  and  interesting  won- 
der of  science  in  its  control  of 
light — optical  telegraphy,  he  calls 
it.  >Yhile  the  heliography  is  not 
new,  nor  the  light-flashing  com 
munication  used  extensively  in 
the  navy,  invisible  telegraphy  with 
light  is  the  contribution  of  Char 
bonneau,  and  his  apparatus  has 
been  patented  in  practically  every 
country  of  importance. 

Secret  Signalling 

Charbonneau,  in  his  optical  te- 
legraphy, communicates  through 
space  with  invisible  rays  the 
long  waved  infra-red  of  the  light 
spectrum.  His  invention  enables 
signals  to  be  transmitted  by  night 
or  day  and  be  received  and  inter- 
preted only  by  the  station  for 
whom  they  were  intended.  From 
one  standpoint,  this  is  nothing 
less  than  long  distance  photogra- 
phy, inasmuch  as  a  picture  of  dots 
and  dashes  is  "taken"  upon  a  spe- 


Btj  Herbert  S.  Marshurz,  B.  JL. 

Chairman,    Dept.    Public    Infor- 
mation.   Calif.   State   Assoc,   of 
Optometrists 

ciallv   prepared   moving  band,   or 
film. 

Easily  Understood 

The  essential  processes  seem 
simple.  A  substance  that  is  of  a 
phosphorescent  nature,  but  which 
loses  its  phosphorescence  upon  be- 
ing flashed  with  infra-red  rays, 
namely,  green  sulphide  of  zinc,  is 
the  foundation  of  the  French- 
man's invention.  He  takes  advan- 
tage of  this  quality  by  providing 
a  revolving  band  impregnated 
with  this  substance  and  upon  re- 
reiving  the  impulse  of  the  infra- 
red ray,  a  legible  impression  is 
made  on  the  band  in  the  manner 
of  its  transmission. 

Focused   Telescopically 

The  transmitting  apparatus 
comprises  a  concave  mirror,  a 
source  of  light  rich  in  infra-red 
rays,  a  screen  capable  of  inter- 
cepting all  but  the  infra-red  ele- 
ment, and  a  shutter  device  for 
controlling  the  signalling  inter- 
vals of  the  sending  code.  To  fa- 
cilitate focusing,  that  is,  to  bring 


Deuice  to  inscribe 

distant  message    on 

sensitized  surface 

the  optic  axis  of  both  the  sending 
and  receiving  instruments  in  di- 
rect line,  a  telescopic  attachment 
is  provided  for  sighting.  At  the 
reception  end,  a  concave  mirror 
receives  the  parallel  beams  and 
converges  them  to  a  focus  on  the 
endless  band  in  such  a  manner  as 
to  inscribe  the  dots  and  dashes  on 
the  substance  sensitized  to  infra- 
red. An  eye-piece  on  the  receiv- 
ing set  is  for  the  observation  of 
the  signals  on  the  band. 

In  presenting  a  condensed  de- 
scription of  this  optical  telegra- 
phic apparatus,  the  writer  real- 
izes that  while  this  is  not  essen- 
tially a  photographic  achievement, 
it  deals  with  one  extreme  of  the 
spectrum  just  as  photography  in 
its  simplest  or  most  complex  form 
must  depend  upon  light  vibrations 
from  extremes  of  the  spectrum. 

Considering  Charbonneau's  ac- 
complishment, it  does  not  seem 
improbable  that  photographic  sci- 
ence may  yet  learn  to  bridge  what 
today  seem  to  be  forbidden  dis- 
tances. 


DIAL 

H-O-4-4  -O-4 

Users  of  automatic  telephones 
arc  requested  to  note  that,  follow 
ing  the  recent  change  in  the  South- 
ern California  Telephone  Company 
system,  the  number  "9"  is  no  longer 
dialed  to  phone  the  American  So 
ciety  of  Cinematographers  01  the 
American    Cinematographer. 

The  number  as  it  is  used  now 
read.n  HO  llywood  4404.  This  means 
that  the  following  letters  and  num- 
bers are  dialed:  H-O-4404.  It 
It  should  be  noted  that  the  first 
"O"  in  the  series  is  a  letter  as  in 
"omen"  and  the  second  is  a  figure, 
or    naught!" 


April.  1924 

PICTURES 


AND  MONEY 


AMERICAN     CINEMaTOGRAPHER  Seven 

From   Transactions, 
By  Douglas   E.    Brown  Society  of  Motion  Pic- 

ture Engineers 


What  is  the  difference  between  motion  picture 
money  and  other  money?  Persons  in  respectable 
occupations  insist  upon  dealing  with  t lie  industry 
on  a  "strictly  cash"  basis.  They  seem  to  think  we 
shall  all  be  splashed  when  the  "bubble"  bursts.  The 
studio,  with  its  shadowy,  fabulous  millions,  appears 
to  them  a  fiction  of  publicity  men. 

It  is  no  fiction.  Art  is  a  profitable  product  in 
steady  demand,  and  a  good  studio  turns  it  out  year 
after  year.  Each  big  picture  requires  a  capita)  in- 
vestment running  into  six  figures,  and  it  is  sold  for 
what  it  seems  to  bo  worth.  Some  feature  pictures 
are  not  worth  what  they  cost,  but  most  are  worth 
a  good  deal  more,  and  big  studios  are  much  more 
likely  to  show  a  neat  profit  at  the  year's  end  than 
are  publishing  houses. 

A  studio  is  very  similar  to  a  publishing  house. 
It  seldom  originates  a  story,  it  merely  puts  a  pur- 
chased story  into  such  form  that  it  will  reach  the 
paying  public. 

Good  Story,  Good  Business 

It  is  an  axiom  of  showmen  that  a  good  story 
packs  the  house.  The  first  important  step  then  is 
the  selection  and  purchase  of  such  a  story.  The 
picture  rights  to  a  popular  novel  or  play  may  be 
had  for  thirty  thousand  dollars  or  so.  The  studio 
should  be  able  to  turn  this  into  a  feature  picture 
worth  more  than  three  hundred  thousand  dollars. 
The  audience  will  come  to  the  picture  for  an  emo- 
tional experience.  That  quality  of  the  show  which 
gratifies  the  desire  of  the  audience  may  be  called 
pace.  A  picture  has  ideal  pace  if  the  rate  of  change 
of  sensuous  feeling  during  the  entire  time  of  show 
|ng  constantly  delights  the  audience.  Pace  is  whai 
the  exhibitor  sells,  and  every  element  of  pace  but 
its  backbone,  the  story,  is  made  in  the  studio. 
The  Intense  Moments 

Most  good  stories  have  two  moments  at  least  of 
very  intense  interest  that  will  pull  an  audience  out 
to  the  edges  of  their  chairs.  When  they  are  shown 
how  impossibly  difficult  is  the  life  problem  of  the 
heroine,  and  when  this  nemesis  is  at  last  destroyed, 
or  destroys  her.  In  the  completed  picture  a  dozen 
oilier  sorts  of  interest  are  superimposed  upon  this 
plot  which  is  worth  every  dollar  of  the  thirty  thou 
sand  or  so  paid  for  it,  if  it  is  the  sort  of  story  that 
can  be  rendered  into  pantomime. 

Scenarist  Invaluable 

The  studio  scenario  writer  who  renders  the  plot 
into  pantomine,  is  the  author  of  the  picture  and  of 
much  more  account  than  bis  usual  salary  indicates. 
Probably  the  completed  script  of  a  feature  picture 
costs  the  producer  less  than  two  thousand  dollars. 
The  script  is  the  pantomine  scenario  divided  into 
i  scenes  or  camera  shots,  with  every  setting  and  bit  of 
;  important  acting  business  described.  It  is  a  plan 
for  making  the  picture,  complete,  and  the  cost  of  the 
picture  can  be  estimated  from  it. 


Skilled  Trade  Necessary 

Each  set  is  described.  The  cost  of  a  set  is  the  cost 
of  the  material  and  work  that  go  into  it,  of  course. 
Sets,  in  the  gross,  are  made  of  lath,  plaster  and 
paint,  but  the  fine  work  of  ornament  consumes  a 
considerable  quantity  of  good  timber,  however  care 
fully  the  carpenters  may  use  the  wood  over  and  over 
again.  Because  directors  demand  such  a.  wealth  of 
detail,  skilled  carpenters,  painters  and  plasterers 
are  constantly  employed  in  the  erection  and  sfrik 
ing  of  sets,  at  a  trifle  more  than  current  price  of 
such  labor. 

They  work  from  blue  prints  prepared  under  the 
direction  of  an  architect.  The  flimsy  nature  of  these 
mock  facades  and  interiors  constantly  tempts  art 
directors  to  ignore  what  the  architect  is  paid  to  in- 
sist upon — that  structure  supports  ornament,  never 
ornament  structure. 

Properties 

The  furnishing  and  interior  decoration  of  sets  is 
done  mostly  with  properties  rented  for  the  occasion, 
though  there  always  exists  an  accumulation  of  pro]) 
erties  which  belong  to  the  studio. 

In  addition  to  these  expenditures,  there  must  be 
charged  to  the  cost  of  a  set  built  or  rented  on  loca- 
tion, auto  hire  for  the  rapid  transportation  of  the 
personnel  to  and  from  work;  the  cartage  involved  in 
the  bringing  of  studio  equipment  and  the  raw  ma- 
terial for  the  construction  of  sets  on  the  location, 
and.  if  the  location  be  at  a  considerable  distance 
from  the  studio,  the  railroad  fare  of  the  cast  and 
technical  staff  to  the  new  region. 

The  prestige  of  a  great  corporation  demands  that 
its  employes  be  suitably  housed,  and  usually  the  en- 
tire personnel  will  be  maintained  at  the  most  con 
venient  good  hotel  near  the  set. 

At  noon  hour  on  location,  or  indeed  even  in  the 
studio,  there  is  usually  a  mob  of  extras  to  be  fed. 
and  a  hundred  lunches  each  day  for  a  week  will 
total  several  hundreds  of  dollars. 

Speedy  Direction  for  Crowds 

The  director  who  delights  in  filling  the  great  open 
spaces  of  enormous  sets  with  milling  humanity,  at 
five  to  ten  dollars  per  day  per  head,  assumes  a  grave 
responsibility  to  his  corporation  and  must  in  any 
case  shoot  his  five  hundred  feel  of  picture  and  get 
the  crowd  off  the  lot  with  dispatch  or  he  is  throwing 
money  away. 

Location  rental  may  be  a  heavy  charge  upon  pro 
duct  ion.  There  is  becoming  current  a  practice  of 
using  the  most  valuable  real  estate  in  the  East 
rather  than  build  sets  representing  the  exteriors  of 
great  buildings.  The  Fifth  Avenue  Fifties  were  tied 
up  during  the  small  hours  recently  while  power 
from  the  street  manhole  flood  lighted  the  facade  of 

(Continued  on  Page  18) 


Eight 


AMERICAN     CINEM  ATOGRAPHER 


April,  1924 


Ideal  Cinematographer 


Director  Relationships 


Newspaper  'writer 
sees  'value  of 
cinematographer 
to  director. 


Damon 
sociation 
member 
cited. 


Pythias  as- 
of  A.  S.  C. 
and   director 


The  following  story,  printed  originally  in  the  Lou  Angeles  Illustrated  News,  gires  an  insight  into 
what  the  efficient  cinematographer  means  to  the  director.  The  relation  of  Van  Enger.  a  member  of  the 
American  Society  of  Cinematographer*,  to  his  director  is  indicative  of  numerous  other  cinematographer- 
director  associations  which  are  responsible  for  the  screen's  best  made  pictures.  Xcedlcss  to  say.  Mr. 
Herrei/.  the  Yews,  and  its  motion  picture  editor.  />.  /?.  Fouler,  hare  earned  the  thanks  of  cinctnatog- 
raphers  in  general  for  the  sincerity  of  the  article  which  reads  as  follows: 

By  J.  A.  Hervey 


There  is  a  director  and  a  cameraman  in  Holly- 
wood who  remind  one  of  Damon  and  Pythias,  Pro 
and  Con,  Put  and  Take  and  Seven  and  Eleven  all  in 
one  hunch. 

The  director  is  Monta  Bell  and  the  cameraman  is 
Charles  Van  Enger,  both  of  whom  are  maneuvering 
their  total  talents  each  day  to  make  the  Harry 
Rapf  production  of  "Broadway  After  Dark"  a  com- 
plete success. 

I  blew  into  Warner  Brothers'  studio  for  the  ex- 
press purpose  of  of  finding  out  just  how  much  a 
director  depends  on  his  cameraman. 

I  met  Bell  and  asked  him  the  question  point- 
blank,  to  which  lie  replied,  "Give  me  Charlie  Van 
Enger  and  enough  time  and  I'll  turn  out  a  combina- 
tion of  'Intolerance'  and  'The  Covered  Wagon'  that 
would  knock  your  eye  oul — the  cameraman,  and 
especially  Charlie,  is  th  sole  confidante  and  father 
confessor  of  the  director. 

"And  after  all  is  said  and  done  you  know  a  little 
piece  of  celluloid  with  a  picture  on  it  is  all  the  pro- 
ducer has  to  sell  to  the  exhibitor  and  its  up  to  the 
cameraman  to  pul  the  picture  on  the  celluloid.  Be- 
sides the  actual  mechanical  work  of  a  cameraman, 
his  genius  and  ability  can  save  a  mighty  bad  picture. 
"A  pood  cameraman  means  everything  to  me." 
Then  the  other  member  of  this  admiration  society 
put  in  his  bit — 

"After  working  through  one  picture  with  a  direct 
or  there  is  nearly  always  a  feeling  develops  that 
would  make  a  fellow  go  through  fire  and  water,  liter- 
ally, for  the  director.  The  cameraman  1s  the  one  boy 
who  is  right  alongside  the  director  from  the  first 
foot  until  the  final  fade-out  and  he  feels  the  respon- 
sibility of  the  picture  as  keenly  as  does  his  boss. 
More  and  more  are  the  directors  beginning  to  realize 
the  importance  of  their  cameramen. 

"The  cameraman  with  his  little  piece  of  colored 
glass  stands  by  and  takes  all  thoughts  of  lighting. 
photography  and  settings  from  the  director's  mind 
so  that  he  may  concentrate  on  the  the  dramatic 
action  of  th     mechanical  details.'' 

"Yes,  I  think  .Monta  Bell  and  Van  Enger  could 
film  the  dictionary  and  make  a  success  of  it,"  con- 
cludes Harry  Rapf,  who  had  been  standing  by. 


That  being  the  case,  I've  come  to  the  conclusion 
that  cameramen  mean  more  to  directors  than  a 
lot  of  folks  imagine. 


Philip  H.  Whitman,  A.  S.  G,  Joins 

Hearst  Forces  For  Special  Work 

i , , __ § 

After  "finishing  his  work  on  Douglas  Fairbanks' 
"The  Thief  of  Bagdad"  on  which  he  was  associated 
with  Arthur  Edeson,  A.  S.  C,  Philip  H.  Whitman, 
secretary  of  the  American  Society  of  Cinematogra- 
phers,  has  left  for  New  Vork  City,  where  he  will 
join  the  motion  picture  interests  of  William  Ran- 
dolph Hearst  on  a  special  cinematographic  assign- 
ment which  is  expected  to  keep  him  in  the  East  for 
some  time.  Immediately  prior  to  his  departure  .Mr. 
Whitman  completed  a  week  of  special  work  with 
the  Louis  B.  Mayer  Studios. 

Mr.  Whitman's  exact  connection  is  as  yet  unan- 
nounced but  it  is  understood  that  important  duties 
on  one  of  the  foremost  of  the  forthcoming  Hearst 
pictures  are  being  entrusted  to  his  hands. 

The  A.  S.  C.  secretary  is  known  throughout  mo- 
tion picture  circles  as  a  master  of  intricate  "trick" 
work,  he  having  been  retained  in  various  affiliations 
especially  for  such  undertakings.  It  is  conserva- 
tively estimated  that  Mr.  Whitman's  genius  has 
saved  thousands  of  dollars  by  virtue  of  his  minia- 
ture, multiple  exposure  and  even  more  involved  tri- 
umphs, on  various  productions  which  have  been  aug- 
mented  with  his   photographic  contributions. 


Storage  Battery  Mysteries  Cleared  In 

Department  of  Interior  Motion  Picture 

The  principles  of  operation  of  the  storage  battery, 
a  matter  of  much  mystery  to  the  average  automo- 
bile owner  or  radio  fan,  are  made  quite  clear  in  a 
new  industrial  motion  picture,  "The  story  of  a 
storage  battery,*'  just  prepared  under  the  direction 
of  the  Department  of  the  Interior,  with  the  co- 
operation of  the  Willard  Storage  Battery  Company. 
The  film  illustrates  vividly  all  details  in  the  con- 
struction of  an  electric  storage  battery,  its  work- 
ings, and  its  proper  care.  This  film  will  be  avail 
able  for  distribution  about  April  1,  under  the  free 
loan  service  of  the  Bureau  of  Mines.  Bequests  for 
the  loan  of  the  film  should  be  addressed  to  the 
Bureau  of  Mines  Experiment  Station,  4K00  Forbes 
St.,  Pittsburgh,  Pa. 


April,  1924 

Three        New 


AMERICAN     CINKMATOGRAPHER 

Members 


NTinf 


On        A.        S.      C.       Roster 


lolburst,  Haller  and 
Glennon  Chosen  for 
oA.  S.  C.  Member- 
ship. 


Trio  stand  high 
in  profession  'with 
wide  cinematographic 
experience. 


Three  masters  of  cinematography  in  Hie  persons 
of  Bert  Glennon,  Ernesl  Haller  and  Louis  II.  Tol- 
hurst  have  been  chosen  for  membership  in  Ihe  Amer- 
ican Society  of  Cinematographers,  according  to  an 
announcemenl  from  the  A.  S.  C.  Board  of  Gov- 
ernors. 

Glennon  is  the  camera  a  Nisi  respnsible  for  the 
rinematography  in  Cecil  B.  De  Mille's  production, 
"Tlie  Ten  Commandments,"  which  is  being  lauded 
through  the  length  and  breadth  of  the  land.  On  this, 
the  outstanding  of  Hip  De  Millo  productions,  Glen- 
non served  as  chief  of  cinematography,  successfully 
roping  with  the  innumerable  problems,  Ihe  sur- 
mounting of  which  have  made  "The  Ten  Command 
pents"  one  of  the  most  prominent  vehicles,  pictor- 
ial ly,  of  all  times. 

Many  Glennon  Triumphs 

While  Glennon's  'work  in  "'The  Ten  Command- 
ments" is  of  such  a  nature  that  will  warrants  re- 
nown, it  by  no  means  stands  alone  as  the  only  cine 
matographic  achievements  in  his  career  which,  an 
inspection  of  the  films  he  has  photographed  will 
indicate,  is  replete  with  pictorial  triumphs.  Witness 
in  this  connection  his  photography  in  George  Mel- 
ford's  production  of  "You  Can't  Fool  Your  Wife," 
"Java  Head."  "Ebb  Tide,"  "The  Woman  Who  Walk 
ed  Alone,"  and  "Burning  Sands.'" 

Prior  to  joining  the  Paramount  forces,  Glennon 
filmed  a  number  of  productions  for  Universal  includ- 
ing "The  Torrent."  featuring  Eva  Novak  and  direct- 
ed by  Stuart  Paton ;  "The  Kiss,"  featuring  Carmel 
Myers  and  directed  by  Jack  Conway;  "The  Danger- 


ous Moment,"  with  .Miss  Myers;  "The  Daughter  of 
the  Law,"  with  Miss  Myers  and  directed  by  Jack 
Conway;  Marie  Prevosl  in  "The  Girl  Who  Knew 
About  Men"  and  "Nobody's  Fool,"  both  directed  bn 
King  Baggott;  "Cheated  Love,"  also  with  Miss 
Myers  and  directed  by.  Baggott;  as  well  as  other 
productions,  "too  numerous  to  remember." 

Glennon  also  filmed  the  "Lightning  Brice"  serial 
for   National;  the  "Stingaree"  series  for   Kalem  as 
well  as  another  serial  for  the  latter  company  direct 
ed   by   Jimmy   Home;   numerous  comedies   for   Na 
linal     Film     Corporation     and     the     "Smiling     Bill 
Jones"  series  with   Robin   Williamson  as  director. 
Supervised    Laboratory 

Glennon  served  in  the  laboratory  of  the  W.  H 
Clune  company  <ind  gained  four  years  of  laboratory 
experience  in  the  National  Film  Corporation  labor 
atory  where  he  was  superintendent. 

Glennon  was  in  the  service  in  the  World  War  as 
pursuit  pilot  instructor.  Air  Service,  U.  S.  A.  He 
was  one  of  the  very  few  aviators  who  held  a  rating 
as  J.  M.  A.  (Junior  Member  Aviator)  who  ranked 
as  low  as  second  lieutenant. 

Haller  Began  in  1913 

Ernest  Haller's  career  as  a  cinematographer  had 
its  beginning  11  years  ago  when,  in  L913,  he  started 
shooting  first  camera  with  old  Biograph.  Since  thai 
time  his  productions  have  included  many  of  the 
most  successful. 

Haller's  latest   vehicles   number  the  following  in 
which  Thomas  Meighan  was  starred  for  Paramount  ; 
(Continued  on   Page  16) 


Ten  AMERICAN     CINEMATOGRAPHER  April,   1924 


^Tll.G    EdltOrS      COrtlCr  —conducted  bu  Foster   Qoss 


HATS  OFF  TO  MISS  PARSONS 

The  American  Cinematographer  wishes  to  pay  its  respects  to  Louella 
Parsons,  motion  picture  editor  of  the  New  York  American,  and  writer  of  a 
weekly  column  which  appears  extensively  in  the  Hearst  papers,  including  the 
Los  Angeles  Examiner. 

In  the  February  number  this  publication  called  attention  to  what  evidently 
was  an  inadvertency  in  Miss  Parsons'  column  in  the  Examiner  when  the  cine- 
matographic artistry  of  George  Barnes,  A.  S.  C,  in  "Peg  O'  My  Heart"  was 
attributed  to  the  director  of  that  production  rather  than  to  the  A.  S.  C.  mem- 
ber who  photographed  the  vehicle. 

When  Miss  Parsons  read  the  lines  which  appeared  in  this  journal,  she 
handsomely  took  care  of  the  situation  with  the  following  paragraphs  which 
appeared  not  only  in  the  New  York  American  and  the  Los  Angeles  Examiner 
but  in  all  of  the  Hearst  and  other  publications  carrying  the  same  service : 

"The  American  Cinematographer,"  Miss  Parsons'  column 
reads,  "calls  attention  to  an  item  that  was  published  in  the 
Movie-Go-Round  in  the  Los  Angeles  Examiner. 

"In  this  paragraph  I  said  that  King  Vidor's  camera  meth- 
ods made  Laurette  Taylor  look  like  a  girl  of  sixteen  and  had 
every  motion  picture  star  over  twenty-five  paging  him  to  find 
out  how  it  was  done.  The  American  Cinematographer  men- 
tions the  fact  that  it  was  George  Barnes,  a  member  of  the 
American  Society  of  Cinematographers,  who  deserves  credit 
for  these  camera  methods,  and  not  Mr.  Vidor. 

"The  American  Cinematographer  is  right.  The  credit  does 
belong  to  Mr.  Barnes  and  he  should  have  it  in  a  large  degree, 
not  only  for  his  camera  work  in  Teg  O'  My  Heart,'  but  for 
his  work  in  'Yolanda.'  He  is  responsible  for  the  beautiful 
closeups  of  Marion  Davies.  I  hope  Mr.  Barnes  will  accept  this 
belated  apology.  We  believe  in  justice  and  in  giving  credit 
where  credit  is  due." 

Miss  Parsons'  spirit  is  to  be  admired.  It  is  the  sort  that  is  a  credit  to 
American  journalism  of  which  Miss  Parsons  is  ranked  as  a  distinguished  figure. 
That  sort  of  spirit,  although  sometimes  it  is  seldom  practiced,  makes  friends 
for  the  publication  with  which  the  gracious  writer,  whoever  he  or  she  may  be, 
is  connected.  To  the  American  Cinematographer  it  amounts  to  an  ambition 
to  see  the  time  when  every  newspaper  and  publication,  that  gives  spaces  to 
motion  picture  affairs,  will  recognize  the  ability  and  artistry  of  the  cinematog- 
rapher as  Miss  Parsons  has  so  fully  done. 

Miss  Parsons,  we  thank  you. 


April.  1924  AMERICAN     CINEMATOGRAPH  ER  EleTen 


AND  TO  QUIGLEY,  TOO 

True  ability  cannot  be  obscured  for  all  time.  There  was  a  time  when  the 
cameraman  may  have  been  regarded  much  in  the  light  of  a  mechanic,  but  that 
time  has  slowly  but  surely  sifted  away  into  the  remote  past.  Achievements  in 
the  cinematographic  branches  of  the  motion  picture  industry,  it  has  been  stipu- 
lated long  since,  have  in  a  large  measure  been  responsible,  basically,  for  the 
magnitude  of  the  cinema  today. 

But,  with  some,  the  ingrown  conception  of  the  cinematographer  as  the 
mechanical  "crank  turner"  has  persisted,  although  incontrovertible  evidence 
of  the  cinematographer's  artistry  has,  for  seasons  past,  beamed  forth  from 
every  motion  picture  screen.  Unfortunately,  the  cinematographer's  workaday 
triumphs,  like  the  researches  of  the  scientists  who  have  made  it  possible  to 
stamp  out  plagues  and  fevers,  do  not  lend  themselves  handily  to  glorification. 

It  has  been  well  said  that  he  is  the  true  silent  worker.  Therefore,  the 
mediums  which  speak  to  some  degree  for  his  merits  are  to  be  considered  as' 
beacons  of  truth  in  that  they  dispel  the  silence  that  is  the  cinematographer's. 
So  it  is  with  a  sense  of  gratification,  too,  that  the  American  Cinematographer 
notes  that  a  publication  of  the  calibre  of  the  Exhibitors  Herald  "speaks  a 
word"  through  its  editor — Martin  J.  Quigley — for  the  cinematographer.  With 
pleasure  we  re-print  herewith  "Giving  Credit  To  Cameramen,"  a  recent  edi- 
torial by  Mr.  Quigley: 

"We  want  to  speak  a  work  for  the  cameraman  as  an  es- 
sential and   mightily  influential  factor  in  production. 

"There  is  a  lot  done  behind  the  scenes  in  pictures  as  well 
as  in  the  theater  and  in — life. 

"The  cameraman  is  no  more  a  mechanical  workman  than 
is  the  director.  His  profession  requires  a  wealth  of  technical 
knowledge  and  experience  yet,  in  addition,  he  must  have 
vision,  imagination,  quick  decision  and  a  sense  of  beauty. 
The  cameraman  is  the  translator  of  the  ideas  of  the  writer  and 
director  and  in  order  to  be  able  to  translate  he  must  under- 
stand the  subject  matter. 

"Cameramen  generally  have  a  splendid  professional  in- 
terest and  enthusiasm  in  their  work.  Frequently  they  face  se- 
vere perils  to  life  and  limb  and  they  do  so  uncomplainingly. 
They  are  adding  immeasurably  to  the  beauty  of  the  screen 
and  the  technical  proficiency  of  American  motion  pictures 
stands  to  their  everlasting  credit. 

"Unfortunately  there  has  been  a  neglect  in  giving  camera- 
men due  credit  as  the  photographers  of  particular  productions. 
Producers  and  distributors  should  look  to  this  and  see  that 
the  information  is  sent  out  so  that  the  cameramen  may  be 
given  the  individual  credit  they  are  entitled  to." 


Twelvb 


AMERICAN     CINEMATOGRAPHER 


April,  1924 


qA.  S.  C  ^Members  Who  oAre  ^Making  Camera  History 


DAVID  ABEL,  A.  S.  C,  whose 
photography  in  Warner  Broth- 
ers' production  of  "Beau  Brum- 
mel,"  starring  John  Barrymore, 
is  of  rare  beauty  which  is  de- 
lighting  critics    wherever  viewed. 


PAUL  P.  PERRY,  A.  S.  C,  who, 
though  still  young  in  years,  is 
a  veteran  cinematographer  whose 
each  vehicle  is  a  masterpiece.  He 
is  still  being  praised  for  his  work 
in   "Ponjola  " 


NORBERT    BRODIN,    A.    S.    C, 

who  is  enhancing  Frank  Lloyd's 
productions  for  First  National 
with  photography  of  the  finest 
blend.  Brodin's  career  truly 
promises   the  greatest  brilliancy. 


STEPHEN  S.  NORTON,  A.  S.  C, 

whose  cinematography  in  "Paint- 
ed Women"  and  "Love's  Whirl- 
pool," with  James  Kirkwood  and 
Lila  Lee,  are  fresh  evidence  of 
his  rank  among  the  best  camera 
artists. 


FRED  JACKMAN,  A.  S.  C,  who 

has  risen  to  as  lofty  heights  as 
a  director  as  he  occupied  as  a 
cinematographer.  His  "Call  of 
the  Wild"  and  "King  of  Wild 
Horses"  establishes  that. 


GEORGE    MEEHAN,    A.    S.    C. 

who,  representative  of  the  un- 
sung heroes  of  comedy,  plays  no 
small  part  in  making  thousands 
laugh  with  his  cinematography  in 
Jack  White  and  other  produc- 
tions. 


April.  1924 


AMERICAN     CINEMATOGRAPHER 


Thirteen 


Camera        Circles     Aroused        Over        Photographic       Tax 


Interest  unabated 
in  potest  against 
tax  on  cinematog- 
rapher's  working 
tools. 

.Interest  in  what  steps  Congress 
will  take  toward  the  repeal  of 
the  ten  per  cent  excise  tax  on 
motion  picture  cameras,  lenses 
and  other  photographic  instru- 
ments prevails  at  a  high  point. 
As  yet  the  Ways  and  Means  Com- 
mittee of  the  House  of  Represen- 
tatives has  made  no  indication  as 
to  what  disposition  it  will  make  of 
the  numerous  appeals  which  have 
been  sent  the  committee  to  remove 
the  levy  on  photographic  para- 
phernalia. 

Working  Tools  Taxed 

The  conviction  is  presenting  it- 
self more  forcibly  than  ever 
among  cinematographic  workers 
that  the  excise  tax  does  nothing 
short  of  levying  on  the  very  tools 
with  which  they  are  making  their 
living,  bringing  to  the  government 
in  return,  it  is  estimated,  not 
more  than  $10,000  per  year  which 
sum,  as  pointed  ont  in  the  recent 
telegram  of  the  American  Society 
of  Cinematographers  to  the  Ways 


CHARLES    ROSHER    A.    S.    C, 

who  once  again  is  sharing  honors 
with  Mary  Pickford  in  the  photo- 
graphy in  "Dorothy  Vernon  of 
Haddon  Hall."  Rosher  has  been 
an  important  factor  in  the  Pick- 
ford  successes. 


and  .Means  Committee  is  not  com- 
mensurate with  the  burden  it 
works  upon  the  cinematographer. 

It  is  farther  pointed  out  that 
if  it  is  the  purpose  to  tax  the  call- 
ing of  the  cinematographer  such 
an  end  is  met  in  the  pe'rsonal  in- 
come tax  on  the  individual  cine- 
rapher  and  when  his  working 
tools  are  in  addition  taxed  he  is, 
in  effect,  being  subjected  to  double 
taxation  on  his  livelihood. 
Amateurs  Affected 

Interest  in  the  repeal  of  the 
tax  in  question  has  spread  beyond 
the  confines  of  cinematographic 
circles  and  is  animating  users  of 
still  cameras  and  supplies.  As 
will  be  seen,  this  phase  of  the 
matter  affects  thousands  of  ama- 
teur users  of  photographic  para- 
phernalia. 

To  Be  Represented 

According  to  reliable  informa- 
tion coining  from  the  East,  these 
users  of  still  cameras  are  to  be 
represented   at    a    hearing    before 


HENRY  SHARP,  A.  S.  C,  whose 
sterling  ability  as  a  cinemato- 
grapher is  well  established  by  his 
work  in  John  Griffith  Wray  pro- 
ductions for  Thomas  H.  Ince. 
He's  a   topnotcher. 


Still  camera  quar- 
ters to  oppose  con- 
tinuation of  tax 
is  report  from  East. 

the  House  Ways  and  Means  Com 
mittee  al  which  time  their  end  of 
the  matter  will  be  presented  to 
the  legislators. 

Senator  Johnson  Replies 

Senator  Hiram  Johnson  was 
the  first  official  to  reply  to  the 
letters  on  the  subject  sent  out  by 
the  American  Society  of  Cinemato- 
graphers, his  answer  stating  that 
the  situation  was  having  his 
earnest  attention. 

Observers  of  photographic  af 
fairs  give  it  as  their  belief  thai 
the  repeal,  on  its  own  behalf, 
should  go  through  without  ques- 
tion since,  they  emphasize,  the 
effect  of  the  tax  oversteps  any 
good  that  it  may  bring  about. 
Particular  stress  is  laid  upon  the 
fact  that  the  levy  works  a  parti 
cnlar  hardship  on  the  cinemato- 
grapher who  not  only  must  stand 
the  tax  when  he  purchases  his 
camera  but  is  forced  to  meet  it 
again  whenever  he  purchases  a 
new  lens  or  the  like. 


L.  GUY  WILKY  A.  S.  C,  who  is 

the  cinematographer  half  of  the 
famous  team  of  which  William  de 
Millc  is  the  directorial  half 
Wilky's  cinematography  is  a 
treat  in  itself. 


Fourteen  AMERICAN     CINEMATOGRAPHER  April,  1924 

I — ____ ~       _ . . , , ___ — ,_ .__ 


Skillful  cinematography  exacts  accurate  re- 
production— from  highest  light  to  deepest 
shadow  the  full  scale  of  tones  in  the  negative 
must  be  secured  in  the  print. 


EASTMAN 
POSITIVE  FILM 

Gives  faithful  reproduction  no  matter  how 
delicate  the  detail.  Look  for  the  identifi- 
cation— "Eastman'  and  "Kodak" — in  black 
letters  in  the  transparent  margin. 


Eastman  Film,  both  regular  and 
tinted  base,  is  available  in  thou- 
sand foot  lengths. 


EASTMAN  KODAK    COMPANY 

ROCHESTER,  N.  Y. 


April.  1924 


AMERICAN     CINEM  ATOGR  APHER 


Fifteen 


T)r.  Alfred    B.   Hitchins  Establishes 

Headquarters    In    New    York    City 


Subscribers- 


Dr.    Alfred     B.    Hitchins 

Dr.  Alfred  R.  Hitchins,  ranked  as  a  world  author- 
ity on  photographic  matters  and  for  the  past  two 
years  associate  editor  of  the  American  Cinema- 
tographer, will  be  the  New  York  representative  of 
III  American  Cinematographer  with  headquarters 
at  33  West  (50th  Street,  Room  602,  New  York  City. 
it  is  announced  this  month. 

Dr.  Hitchins  recently  resigned  as  Director  of  Re- 
search Laboratory  of  the  Ansco  Company  at  Ring- 
hamton,  N.  Y.,  to  establish  himself  in  the  more 
promising  field  in  New  York  City  as  a  consultant  in 
photography  and  its  applications,  including  motion 
picture  work.  During  his  connection  with  the  Ansco 
organization.  Dr.  Hitchins  won  renown  for  his  spe- 
cial work  in  motion  picture  raw  stock,  studio  meth- 
ods and  technique,  laboratory  practice  and  lighting. 

1  >r.  Hitchins  holds  a  Ph.  D.  degree  in  physics  and 
a  M.  A.  in  chemistry.  In  addition  he  holds  the  fol- 
lowing fellowships,  which  are  indicative  of  the  es- 
tpem  in  which  he  is  regarded  in  his  profession: 
Royal  Photographic  Society,  Fellow  of  Chemical 
Society;  Fellow  of  Physical  Society,  London;  Fel- 
low of  Microscopical  Society  and  Fellow  of  Royal 
Society  of  Arts. 

He  is  a  member  of  the  Franklin  Institute  and  of 
(Continued  on  Page  16) 


to  the  American  Cinematographer 
may  well  be  said  to  cover  the  globe. 
The  subscription  list  numbers  names 
from  far  and  near.  If  you  have  a 
friend  who  lives  far  away  in  the  dis- 
tance somewhere  and  who  is  inter- 
ested in  things  cinematographic, 
there  is  no  better  way  to  let  him 
know  that  you  are  remembering  him 
than  by  sending  him  a  subscription 
to  the  American  Cinematographer — 
the  magazine  that  will  keep  him  in 
touch  with  the  technical,  scientific 
and  photographic  progress  of  the 
motion  picture  industry. 


f#» 


The  American  Cinematographer — 

Herewith  find  $3.00  to  pay  for  one  years,  subscrip- 
tion to  The  American  Cinematographer,  subscription 

to  begin  with  the  issue  of 192 

Address 

Name    ; 


Sixteen 


AMERICAN     CINBMATOGRAPHER 


April,  1924 


The    New    Metal    Model     Debrie    Professional    Camera 


Equipped  with  automatic  dissolving  shutter 

Special  ground  glass  attachment  for  focusing 

Nine  time  magnifying  tube  for  direct  focusing 

Stop  motion  device 

35  m/m,  50  m/m  and  105  mm  Zeiss  lenses  fitted 

Sole  leather  case  for  camera 

Eight  four  hundred-foot  magazines 

Sole  leather  case  for  magazines 

One  set  of  inside  masks 

One  set  of  outside  masks 

Three  finder  masks 

Sunshade 

Rewind  er 

Latest    model    Debrie    tripod    with    quick    tilt    and 

panoram  top 
Sole  leather  case  for  tripod 


Complete 
Outfit 
$1250 


SEND  YOUR  ORDER  IN  NOW  WHILE  THIS  PRICE   IS   IN  EFFECT 

Motion  Picture  Appartus  Co.  Inc. 

118  West  44th   Street  New  York  City 
U.  S.  AND  CANADA  AGENTS  FOR    DEBRIE 


(Continued  from  Page  15) 

the  Society  of  Motion  Picture  Engineers,  he  being 
a  member  of  the  Board  of  Governors  of  that  society 
as  well  as  chairman  of  the  S.  M.  P.  E.  Papers  and 
Publications  Committee.  In  addition,  he  is  secre- 
tary-treasurer of  the  Technical  Photographic  and 
Microscopical  Society,  and  is  a  member  of  the 
Societe  Francaise  de  Photographie,  Paris,  he  being 
a  progress  medallist  with  the  latter  society. 

Dr.  Hitchins  has  from  time  to  time  made  invalu 
able  contributions  to  the  American  Cinema 
tographer.  his  articles  always  having  contained  use- 
ful and  practical  reference  material.  Dr.  Hitchins 
will  not  only  be  New  York  representative  of  the 
American  Cinematographer  but  will  continue  as  as- 
sociate editor  as  heretofore. 


Victor  Milner,   A.   S.  C,  is  making  preparations 
for   the   filming  of  "Judgment,"    Fred    Nib!  r's   next 
production    for   Louis    P>.    Mayer   and   Metro.      Enid 
Bennett  and  Ramon  Novarro  will  be  featured. 
•     »     » 

Pert  Glennon,  A.  S.  C  has  begun  the  filming  of 
"These  Women,"  directed  by  Frank  Crson  and  Paul 
Tribe  under  the  supervision  of  C  il  P.  De  Mille. 
The  vehicle  affords  a  dual  role  with  many  interest- 
ing camera  effects.  Lea  trice  Joy  and  Victor  Var- 
coni  head  the  cast. 


Three  TJe-w  oA.  S.  C.  ^Members 

(Continued  from  Page  9) 

"Pied   Piper  Malone,"  "Woman  Proof,"  "Homeward 
I  found,"  and  "The  Ne'er  Do  Well." 

Prior  to  that  he  turned  out  such  pictorial  gems 
as  "The  Outcast."  starring  Elsie  Ferguson;  "The 
Gilded  Lily,"  starring  Mae  Murray;  "Such  a  Little 
Queen,"  with  Constance  Binney;  and  Elinor 
Glyn's  "The  Career  of  Katherine  Push,"  with  Cath- 
erine Calvert. 

Shot  Fox  Spectacle 

He  went  to  Italy  and  Egypt  to  film  the  Fox  spec- 
tacle. "The  Shepherd  King."  directed  by  -1.  Cordon 
Edwards  and  was  eminently  successful  in  photo 
graphing  the  huge  scenes  in  which  hundreds  ap 
peared  in  "mob"  sequences. 

Previous  to  the  Fox  production,   Haller  was  with 
.Joseph  M.  Schenck  productions  with  which  he  film 
ed  Norma  Talmadge  in  "Yes  or  No?"  and  "Mother  of 
Men." 

Among  HalleCs  earlier  productions  were  "Dead 
Men  Tell  No  Tales,"  dir  ted  by  Tom  Terriss  for 
Vitagraph;  "Salvation  Nell,"  and  "Wife  Against 
Wife"  for  Whitman  Bennett  productions;  "Neglect 
ed  Wives,"  "The  Road  to  Arcady,"  "The  Common 
Level"  and  "Discarded  Women,"  Burton  King  pro 


April,  1924 


AMERICAN     CINEM  ATOGRAPHER 


Seventeen 


ductions  for  Hall-mark;  "The  Inner  Voice,"  a  R. 
William  Neill  production  with  F>.  K.  Lincoln; 
"Charge  It  To  Me"  and  "Broadway"  with  Margarita 
Fisher  for  American  Film  Company;  a  Vitagraph 
serial  with  Tony  Moreno;  two  Earle  Williams  fea- 
tures for  Vitagraph ;  two  Slim  Snmmorville  come- 
dies for  Vitagraph  ;  six  of  the  Kalem  "Hazards  of 
Helen"  railroad  series:  "Hani  and  Bud"  comedies 
for  Kalem;  three  "Judge  Brown  Kid"  stories  and 
two  two-reelers  for  Biograph  in  11)13,  etc.,  etc. 

Tolhurst's  Achievement 

Louis  H.  Tolltnrst's  cinematographic  achieve 
nients  have  astounded  the  photographic  and  scien- 
tific world  by  virtue  of  the  fact  that  they  are  the 
means  of  revealing  to  the  eyes  of  man  "secrets  of 
life"  which  for  ages  have  remained  as  a  se;iled  book. 
He  has  made  it  possible  to  present  to  the  layman 
facts  of  insect  life  which  the  most  patient  of  the 
philosophers  of  old  learned  only  after  years  of  close 
observation  and  study. 

Having  studied  microscopy  for  ten  years,  Tol- 
hurst  has  been  doing  practical  camera  work  for 
eight  years.  His  researches  have  resulted  in  the  in- 
vention of  processes  which  include  a  cool  light  by 
which  microscopic  life  can  be  illumined  and  photo- 
graphed without  injury  to  the  object.  These  pro- 
cesses, which  have  insured  the  accomplishment  of 
what  heretofore  was  regarded  as  practically  impos- 
sible, have  brought  microscopic  pictures  to  the  point 
where  the  intimacies  of  the  ant  hill,  the  bee  hive,  and 
the  web  and  the  burrow  may  be  invaded  by  the  mo- 
tion pictures  taken  showing  man's  tiny  fellow  crea- 
tures in  their  regular  functioning. 

Tolhurst's  present  researches  are  being  given  to 
the  public  through  the  Principal  Pictures  Corpora- 
tion through  Educational  release.  While  general 
recognition  for  Tolhurst's  genius  is  comparatively 
recent,  he  may  well  be  reckoned  as  one  of  the  vet- 
erans in  the  cinematographic  art.  His  contributions 
played  an  important  part  in  "'The  Microscopic  Mys- 
tery," one  of  I).  W.  Griffith's  first  Triangle  Fine- 
Arts  productions  in  which  Wilfred  Lucas  and  Con- 
stance Talmadge  appeared  in  early  film  roles. 

Commended  by  Maeterlinck 

A  testimonial  to  Tolhurst's  thoroughness  came 
with  the  personal  commendation  of  Maeterlinck, 
Belgian  author  of  "The  Life  of  the  Bee,"  for  the  ac- 
curacy and  beauty  of  Tolhurst's  one  reel  picture, 
-The  Bee." 

Tolhurst's  film,  "The  House  Fly,"  was  used  during 
the  war  in  the  various  cantonments  to  instruct  re- 
cruits in  the  sanitary  corps  as  to  the  manner  by 
which  flies  convey  disease  germs.  This  picture  excited 
the  approval  of  bacteriologists  and  the  commendation 
of  sanitarv  engineers  throughout  the  United  States. 


Now  in  Stock 

See  it  here 

The  New  Bausch  &  Lomb 
Ultra  Rapid  Anastigmat 
Speed  F:  2.7 

.1    high    speed    lens    witji    creep 
tional  depth  and  brilliancy.    We  have 

them  hi  Hie  '/0  m.  in.;  ■'>()  m.  in.  ami 
75  in.  in.  sizes.  Complete  stocks  of  nil 
other  standard  makes  of  lenses  al- 
ways on  hand. 


*< 


^a 


EASTMAN  KODAK  COMPANY 

510  S.  Broadway,  Los  Angeles 


Telephone   870-746 


545   Market   Street 


San   Francisco 


B.  B.  NICHOLS  Inc. 

PHOTOGRAPHIC  SUPPLIES 

Foreign  and  Domestic  Lines 
Bdwy.  2531  -  617  So.  Olive,  -  Los  Angeles 


Cinema   Studios   Supply    Corp. 

1438  Beechwood   Drive 

Holly  0819 

LIGHTING    EQUIPMENT    FOR    RENT 

L.    A.    FIRE    DEPARTMENT 
WIND    MACHINES  Water    Engine 


IkTER.  J.  VAN  ROSSEM 

6049  Hollywood  Blvd. 
Phone  Holly  725 


Commercial  Photography 

Still  Devdopmo'  and  PrinlinQ^ 
SilUcDCaraaas-FOR.  RENT—  Still 


Eighteen 


AMERICAN     CINEM ATOGR APHER 


April,  1924 


Staff  Organization  3Aost  Efficient 
(Continued  from  Page  5) 

duction  cost  for  the  company  is 
#2.000  per  day,  making  a  total  of 
•12,800  a  day.  We  will  suppose 
this  set  to  require  17  electricians, 
which  is  5  per  cent  of  the  total 
cost  of  the  production,  or  $136  a 
day.  Let  us  say  that  we  could 
ml  down  five  electricians  and  still 
be  able  to  barely  get  by.  We 
might  hold  up  the  company  for  a 
few  minutes  on  each  shot  but  we 
would  apparently  be  saving  about 
$40  a  day.  Now,  then,  if  it  cost 
$2,800  a  day  to  operate  this  com- 
pany,  whose  average  shooting 
time  is  about  five  hours  per  day, 
it  costs  $560  per  hour,  or  about 
$0.30  every  minute  that  the  com- 
pany is  held  up,  and  if  the  em- 
ployment of  five  electricians,  at  a 
cosl  of  $40  per  day,  is  an  insur 
ance  against  a  possible  delay 
(which  it  is)  it  seems  to  me  it  is 
a  very  good  investment  for  the 
producer.  Of  course,  the  $40 
would  show  up  as  payroll  expense 
againsi  the  electrical  department, 
while  I  he  cost  of  delay  of  a  few 
minutes  on  the  set  is  not  noticed 
Itv  the  management,  as  there  has 
been  no  system  devised  that  can 
segregate  the  difference  between 
the  actual  loss  and  payroll  ex- 
pense. You  men  should  be  thor- 
oughly versed  and  prepared  to 
show  your  management  that  the 


electrical  department  is  not  an  ex- 
pense, but  if  properly  supervised, 
is  the  best  investment  that  the 
studio  posseses. 

Cheap   Labor  Costly 

"At  this  time  I  want  to  make 
myself  clear  on  the  question  of 
labor.  I  think  you  are  all  aware 
of  my  stand  on  this  question.  I 
am  absolutely  opposed  to  cutting 
the  pay  of  men  for  the  sake  of 
getting  cheaper  labor  than  the 
other  fellow ;  i.  e.,  I  do  not  be- 
lieve in  cheap  labor  because  it  is 
'cheap  labor,'  for  the  reason  that 
it  does  not  pay  in  the  long  run. 
You  can  not  expect  to  get  the 
best  out  of  a  man  when  he  knows 
that  he  is  underpaid,  and  in  our 
business  especially,  where  men 
must  have  their  whole  heart  and 
soul  in  the  execution  of  their 
work  and  where  the  leasl  mistake 
or  neglect  will  cause  serious  de- 
lays and  expense.  Let  us  show 
by  efficient  and  intelligent  man- 
agement of  our  departments  that 
the  motion  picture  industry  can 
pay  at  least  a  standard  living 
wage. 

Begets   Personal  Pride 

"Our  business  is  spectacular;  it 
is  quite  natural  for  every  one  con- 
nected with  it  to  take  a  personal 
pride  in  the  achievements  and 
progress  of  the  industry,  which  is 
not   the  case  in   most  commercial 


lines.  When  a  man  works  hard 
on  a  big  production,  which  some- 
times entails  day  and  night  work 
for  long  periods  of  time,  he  na- 
turally has  a  personal  interest  and 
takes  a  great  deal  of  pride  in 
viewing  the  ultimate  results.  The 
advancements  made  in  the  elec- 
trical and  mechanical  depart- 
ments bear  evidence  to  this  fact. 
They  are  the  results  of  the  efforts 
of  men  to  perfect  and  improve 
the  art  and  mechanics  of  the  mo- 
tion pictures.  The  lighting  and 
mechanical  equipment  and  the 
wonderful  illusions  and  spectacu- 
lar effects  are  the  achievements 
of  (he  mechanical  side  of  the  in- 
dustry, 

"Let   us  make  the  Illuminating 
Engineers  the  most  popular  insti 
tution   in   the  business. 

"Let's  put  our  shoulder  to  the 
wheels  of  progress  and  make  it 
coll  a   little  faster. 

"Let  us  discuss  at  our  meetings 
technical  and  interesting  ques 
(ions  of  importance. 

"Let  ns  give  our  profession  the 
dignity  and  respect  that  it  de- 
serves. 

"Let  us  inaugurate  a  construc- 
tive policy  in  keeping  with  the 
progress  of  the  world,  for  the 
minute  we  stand  still  and  do  not 
progress,  just  that  soon  we  will 
begin    to   slip." 


Pictures  and   £Money 
(Continued   on   Page  7) 
a  mansion  used  as  the  background  for  a  bit  of  action. 
Eastern  Handicap 

Artificial  light  which  permits  of  full  time  opera 
tion  of  the  studio  plant  regardless  of  climate,  can 
not  prevent  a  seasonal  fluctuation  of  the  load  upon 
the  Eastern  studios.  Our  short  winter  days  and  in- 
clement springs  will  always  slow  down  the  photo- 
graphy of  exterior  sets.  These  occur  in  every  pic- 
ture and  incline  producing  organizations  to  load 
the  studios  to  capacity  during  the  summer  and  early 
fall.  Night  photography  of  exteriors  is  becoming 
frequent,  and  seventy  sun  light  arcs,  the  most 
powerful  light  to  be  bought,  were  recently  used  on 
the  Coast  to  light  a  cathedral  exterior  at  night. 
Electrical   Percentage   Small 

The  depreciation  of  lighting  equipment  constantly 
trucked  over  the  countryside  from  one  location  to 
another  is  rapid,  but  the  whole  cost  of  power,  sal- 
aries of  electricians  and  depreciation  of  equipment 
is  seldom  three  per  cent  of  the  cost  of  production. 

The  number  of  electricians  employed  to  light  a 
sel  may  frequently  equal  the  number  of  actors  mov- 
ing through  it.  and  the  daily  wage  of  an  electrician 
is  about  that  of  an  extra. 


Light  Is  Important 

Light  is  the  chief  concern  of  the  cameraman.  "He 
still  clings  to  the  crank,  his  ancient  sign  of  power, 
but  he  has  become  of  importance  to  the  industry  in 
proportion  to  his  mastery  of  light."  The  author  has 
discussd  this  vastly  important  phase  of  motion  pic- 
ture engineering  in  previous  papers — Cine  Light 
(American  Cinematographer),  March,  1024,  and 
Dramatic  Lighting  in  the  Motion  Picture  News, 
September  15.  1023,  page  1355.  There  can  be  no  doubt 
that  the  chief  electrician  of  a  large  studio,  in  charge 
of  the  lighting  equipment  and  staff  of  electricians. 
is  second  only  to  the  studio  manager  himself  in  re 
sponsibility. 

Diversified  Perspective 

One  of  the  chief  advantages  of  the  motion  picture 
over  the  stajje  is  that  the  camera  may  be  placed  so 
as  to  take  in  all  the  action  and  set,  or  any  part  of  it, 
from  any  point  of  view.  This  choice  of  viewpoints 
may  be  roughly  indicated  in  the  script,  but  in  the 
last  analysis  it  is  up  to  the  cameraman.  Moreover, 
he  directly  controls  the  tempo  of  the  completed  pro- 
duction, for  he  may  take  such  number  of  pictures 
per  second,  within  reason,  as  he  chooses.  In  most 
large  studios,  a  second  cameraman  works  alongside 


April,  1924 


AMERICAN     CINE  MA  TOG  RAP  HER 


Nineteen 


mamo 


IHE  ICA  KINAMO  may  be  rightfully  designated  as 
a  semi-professional  motion   picture  or  cine  camera — 
professional  for  the  reason  that  it  uses  standard  size 
film,  its  capacity  being  eighty  feet,  ample  for  news,  educational  and  indus- 
trial features.    The  used  roll  can  be  removed  and  a  new  one  inserted  ready 
for  use  within  less  than  thirty  seconds — a  professional  necessity. 

The  lens  is  the  Carl  Zeiss  Tessar  /  3.5,  the  lens  with  which  the  best 
feature  films  have  been  made.  It  is  fitted  with  the  Zeiss  focusing  mount, 
with  distances  in  feet  and  diaphragm  markings. 

Like  the  better  professional  cameras,  the  Kinamo 
is  fitted  with  scene  punch,  footage  indicator,  removable 
film  gate  and  one-stop  movement. 

It  is  professional  in  its  construction,  and  the  easily 
^crated,  quiet  running  mechanism  is  characteristic  of 
the  best  professional  cameras. 

Its  size  over  all  is  2^4x5^x6^4  and  it  weighs  but 
3/4  pounds. 

Each  Kinamo  is  furnished  with  a  substantial  tri- 
pod.   The  price  of  the  Model  "A",  accommodating  50 
feet  of  film,  is  $125.00,  and  the  "B",  having  capacity 
for  80  feet,  is  $135.00. 
The  Kinamo  is  sold  by  leading  camera  dealers.     Write  for  the  Kinamo  catalog  and  let  us  know 
your  motion  picture  requirements. 

HAROLD  M.  BENNETT,  U.  S.  Agent,  153  West  23rd  street,    New  York 


the  first,  preparing  a  til  in  which  shall  be  cut  for  ex- 
port, and  each  bit  of  action  is  run  through  twice  to 
make  sure  that  defective  film  has  not  blurred  the 
photography.  A  good  director  usually  prefers  to 
work  with  a  cameraman  he  has  found  congenial  in 
a  previous  production. 

It  is  not  the  province  of  a  director  to  worry  about 
whether  the  next  sot  will  be  ready  for  him  in  time — 
that  is  the  business  of  Ihe  studio  manager  perhaps, 
or  some  technical  director,  or  last,  but  not  last,  the 
cameraman.  The  director  is  above  all  a  diplomat. 
who  keeps  the  cast  interested  in  the  picture  and 
eager  to  make  something  of  it.  Moreover,  he  should 
lie  able  to  judge  acting  as  the  audience  will  judge  il. 
Frequently,  one  actor  will  accidentally  cross  in 
front  of  another  obscuring  some  bit  of  stage  busi 
ncss,  or  in  the  unnatural  studio  environment,  the 
cast  will  fall  into  some  stiff,  artificial  grouping. 
These  things  the  director  prevents  and  he  influences 
the  emotional  tone  of  the  acting  and  devises  bits  of 
business  to  maintain  constant  dramatic  interest. 


The  Discard 

However  careful  the  direction,  there  are  always 
thousands  of  feet  of  negative  made  which  for  somp 
reason  or  another  must  be  discarded.  A  skilled 
••cufter-'  is  usually  employed  to  look  over  each 
week's  work  as  it  is  done  and  cut  out  portions  which, 
because  of  bad  photography,  poor  lighting  or 
grossly  bad  acting,  are  useless.  The  rest  of  the  film 
lie  will  have  pieced  together  according  to  thecontin 
uity,  and  the  director,  at  his  leisure,  will  go  over 
this  crude  motion  picture  in  the  projection  room  and 
recut  it  while  it  is  being  titled.  More  excellent  pic 
tures  have  been  ruined  in  the  cutting  room  than  any- 
where else.  The  nice  adjustment  of  all  these  bits  of 
action  into  six  thousand  feet,  or  less,  of  film  out  of 
a  length  which  may  run  close  to  a  hundred  thousand 
feet,  is  the  most  important,  because  final,  task  of 
direction.  ,Ihe  audience  hinst  be  sensed^all  the  time, 
and  indeed  no  picture  can  be  considered  ready  for 
release  to  the  exchanges  until  it.  has  had  a  month's 
run  at  a  regular  theatre  and  been  cut  again  after 
that       ... 


Twenty 


AMERICAN     CINEM  ATOGR  APHER 


April,  1924 


The  star,  except  in  rare  instances,  receives  a 
higher  salary  than  the  director,  and  several  indepen- 
dent producing  organizations  have  heen  launched 
and  successfully  financed  by  individual  stars.  The 
public  interest  in  such  actors  is  great  enough  to 
justify  "million  dollar  contracts."  Their  influence 
.  upon  the  industry  results  from  intense  publicity 
which  has  made  the  star  almost  the  sole  contact  be- 
tween the  industry  and  the  nation.  The  star  to  the 
people  is  the  symbol  of  the  motion  picture. 

All  important  studios  maintain  stock  companies, 
and  feature  their  principle  players  sufficiently  often 
to  keep  them  in  the  public  eye.  A  few  hundred 
dollars  a  week,  under  contract,  meets  the  salary  de- 
mand of  such  actors,  and  a  supporting  cast  for  a 
star  may  often  be  brought  together  at  a  smaller 
total  weekly  expense  than  the  star's  salary. 

A  private  dressing  room  in  the  studio  is  assigned 
to  each  member  of  the  stock  company,  and  there  are 
available  well  equipped  public  dressing  rooms  for 
the  itinerant  actors  engaged  to  play  minor  roles,  or 
as  extras.  There  is  thus  a  considerable  studio  over- 
head to  be  apportioned  among  whatever  productions 
are  under  way. 

The  disbursement  of  funds  and  general  super 
vision  of  affairs  throughout  the  studio  is  in  the 
hands  of  the  studio  manager.  He  keeps  the  finance 
committee  of  the  producing  corporation  constantly 
aware  of  the  Drogress  of  each  picture,  and  the.  ex- 
pense it  has  involved  during  the  previous  week.  He 
prevents,  insofar  as  possible,  undue  extravagance. 

There  are  made  in  the  t'nited  States  about  seven 
hundred  feature  productions  a  year.  The  best  of 
them  are  each  year  more  elaborate  and  costly  than 
the  best  of  the  previous  year.  Though  no  dose  rela- 
tion can  be  traced  between  the  cost  of  a  picture  and 
the  return  it  will  yield,  those  lavishly  made  and  care 
fully  trimmed  down  have  been  more  profitable  than 
cheap  pictures.  A  limited  director  makes  a  limited 
picture,  a  standardized,  stereotyped  thing  from  the 
canning  factory.  However,  he  ought  to  be  given  a 
well-thought-out  continuity  to  begin  with,  and  a 
well  equipped  studio  to  work  in. 

One  can  only  guess  how  much  money  the  most  ex- 
cellently planned  feature  motion  picture  will  earn, 
but  the  cost  of  making  it  can  be  truely  estimated  be- 
fore work  begins  in  the  studio. 


Ultra  Rapid 
Anastigmat 

Bausch  &  Lomb  Optical  Co. 

ROCHESTER.    N.  Y 

New  York  Chicago  Washington 

San  Francisco  London 


TITLES 


ART  BACK 
GROUNDS 


HOLLY    482 


FOR  SALE 

Pathe   No.    1110,    completely   equipped   with   six   maga- 
zines,    tripod,     tilt     head,     mats     and     vignettes     of 
every    description.       Guaranteed    in    perfect    shape. 
40,    50   and   85   mm.    lenses.      Bargain. 
JAMES  C.  VAN  TREES 
American   Society    of   Cinematographers 


DEBRIE  CAMERA 

And    Equipment 
All  for  $500. 
ANDRE    BARLATIER 
American    Society    of    Cinematographers 


April,  1924 


AMERICAN     CINEM ATOGRAPHER 


Tweruv-one 


THE     ASYLUM 

(Continued  from  Page  4) 

to  shoot  yesterday's  rushes  over  right  away! — Tell 
"em  that    I'M   waiting  in  the  projection  room." 

Five  minutes  pass — a  couple  more  minutes.  The 
assistant  bows  before  his  king — 

The  regal  voice — "Well?"  (Oh,  if  this  were  only 
a  story  of  the  sea  so  that  I  might  say  the  voice 
•boomed')  — 

No  "Rush" 

•'Well—  well— "  (Ah,  but  all  is  NOT  well  I— -Well, 
they  said  we  can't  have  the  rushes  until  after  two. 
Doug  has  a  big  hold-over  set  from  Bagdad  and  .Mary 
and  Mickey  have  a  special  rush  in — -and  we  didn't 
have  our  camera-report  marked  'Rush' — so  well — 
the  stuff  won't  be  over  'till  about  two! — Is  there 
anything  else,  Mr.  (iriffman?" 

Another  Rubber  Stamp 

And  as  the  megaphone  wielder  mumbled  some- 
thing that  sounded  like  "Iamb"  or  "ham"  he  turned 
— savagely  (directors  always  turn  on  their  assist- 
ants that  way  i  and  exclaimed — "You've  had  rubber 
stamps  made  of  everything  but  the  Ten  Command- 
ments— Did  it  ever  occur  to  you  to  have  one  made 
with  Rl'SH  on  it — in  great  big  letters?  And  say — " 
((Iriffman  hesitated  for  effect — He  always  did  that 
with  a  good  cast — gives  the  man  chance  to  ad  lib  a 
bil  ) — "when  yon  do  have  one  made  see  that  it's 
equipped  with  a  non-skid  handle!" 

And  now — all  our  camera-reports  from  Griffman 
cnine  to  us  with  a  bold  and  commanding  "RUSH" 
stamped  across  their  face.  Fine!  However — 27 
other  producers  beat  (iriffman  to  the  idea  so  we 
extend  our  good  service  by  having  our  printer  over- 
print our  camera-reports  in  flaring  crimson — 
'"RUSH."  The  psychological  effect  is  good — any- 
way. 

Why   "Asylum" 

And  there  you  are — just  a  few  little  things  that 
whet  my  keen  appreciation  for  the  genius  of  the  man 
who  wanted  to  code  us  and  decided  upon  "Asylum." 

If  yon  think  this  all  merely  conversation  of  face- 
tious repartee — try  this  on  your  appreciation. 

Select  three  guests — a  mixed  foursome — proposi- 
tion them  to  a  steak  dinner  at  your  favorite  restaur- 
ant. They  accept — Enter  the  Knight  of  the  Napkin 
— Remember  now — it  is  all  set — your  are  all  to  order 
steak. — Guest  number  one — "Medium  rare" — Two 
"Well  done — good  and  brown  on  both  sides" — Three 
•Rare" — Four —  "Just  medium." — Now — it  is  up  to 
the  chef.  You  are  (commercially)  his  guests.  It's 
up  to  him  to  please  you.  He  follows  the  order  to 
a  nicety.  The  hot  platters  are  placed  before  you. 
Tbe  waiter  hovers — all  attention — Guest  number  one 
— "A  bit  of  A-l  sauce,  please!" — Two — "I  forgot  to 
tell  you,  waiter — rush  in  some  garlic  butter  tome!" 
— Three  (overly  ambitious)  "Pshaw!  I  got  too  much 
salt  that  time!" — Four — "Waiter — some  chili  sauce, 
please" — Do  you  get  me? — Do  I  carry  my  point? — 
After  all — the  commodity  is  the  same  thing  in  all 
four  cases— just  STEAK— but  it  must  be  prepared 
to  meet  the  individual  taste  of  each  guest — 


7hc  Ultrastigm  AT-/i  .9 


rT.Speed,  flatness  of  field  ana 
I  critically  sharp  definition 
j^a^e  features  of  this  perfect 
p,l  e  n  s  for  Motion  Picture 
s?Cameras|  Effects  can  be 
i.  secured  with  this  lens  under 
'  'conditions  which  would  yield 
-/no  results  with  lenses  of 
smaller  aperture. 

Ask     your     dealer     for        « 
descriptive    folder  —  orfiT5AlO 
write   us.  IlNTHE 

GUNDLACH-MANHATTAN    OPTICAL    CO.,  UENS/ 
Clinton  Ave.,  South  Rochester,  N.  Y.  >*^ 


BASS 


CHICAGO 


Buys,    S^lls,    Exchanges    Cameras,    Printers,    Lenses 

Complete   Stocks 

Cash   for   Bell   &    Howell   and    De    Brie  equipment 

Catalog    Free 

BASS    CAMERA    COMPANY 

109-AC  North  Dearborn,  Chicago,  111. 


SCHEIBE'S  PHOTO-  FILTER  SPECIALTIES 

A'e  now  popular  from  coast  to  coast,  and  in  some 
foreign    countries. 

If  my  many  varieties  do  not  always  fill  the  bill,  tell 
me  your  wants  and  I  will  make  them  on  special  order. 

Always  at  your  service. 

GEO.  H.  SCHEIBE 
1636  Lemoyne  St.  Los  Angeles,  Cal. 


ROY  DAVIDGE  &  CO. 

FILM  LABORATORIES 

(Formerly  Harold  Bell  Wright   Laboratories) 
NOW  LOCATED  AT 

201    N.   OCCIDENTAL   BLVD. 
REALART  STUDIO 

PHONE  DREXEL  6622 


FOR  RENT 

Two 

Bell    and    Howell    Cameras,    40, 

50,    75    mm. 

lenses, 

Thalhammer    iris.        J:an     Trebaol,     Jr.,     7042 

Stilson 

Street,   Palms,    Calif.      Telephone 

761-243. 

Twenty-two 

Variety  of  Film  Tastes 

And  so  it  is  in  the  film  laboratory — After  all  it 
is  the  same  thing  for  each  guest  (customer) — just 
FILM — but  Oh,  what  a  great  variety  of  tastes  we 
iimsl  please. 

Many  Masters 

For  example — Let's  take  the  Great  Western  Pro 
(tactions,  Inc.,  (We'll  call  them  that  because  it's  not 
their  name),  Great  Western  is  a  mighty  good  ac- 
count. It  behooves  ns  to  deliver  the  goods — we  are 
mil  the  only  laboratory  in  the  business  even  though 
we  admit  we're  the  best.  Great  Western  has  more 
than  one  producing  unit.  Therefore,  we  have  (de- 
cidedly) more  than  one  master  to  serve.  First — 
there's  the  G.  M. — Mr.  George  W.  Boss,  himself. 
Next,  the  production  manager,  in  charge  of  all  pro- 
duction for  Gieat  Western.  Then  Griffman,  direc- 
tor-in-chief, who  directs  unil  number  one.  Horton, 
Griffman's  chief  cameraman — Mills,  who  is  Horton's 
assistant.  Shapiro,  the  art  director — Felice,  the 
star  Graham,  the  chief  electrician  (the  acknowl 
edged  authority  on  super-effects  in  lighting)  — 

They're  off! — (Now,  I'm  not  trying  to  be  funny. 
It's  natural  with  ine.  It  took  me  a  long  time  to  get 
that  way.  I'm  the  official  Grief-sponge  of  our  or- 
ganization, [f  I  took  all  the  grief  too  seriously  I'd 
be  in  Hit-  place  that  they  used  as  code  for  Labo- 
ratory. I 

The  first  day  is  on  'location. '—Ocean  stuff — Beach 
stuff.  About  seven  that  evening,  llorton,  the  genius 
of  the  camera,  rolls  up  to  the  lab  in  his  Stutz  Bear- 
Cat  and  conies  in  behind  his  assistant  who  carries 
an  armful  of  round  Hat  cans.  llorton  grabs  the 
chief  developer  and  gives  him  the  low  down  on  the 
day's  shoots. 

The  Low   Down 

"Now  remember" — he  warns — "remember — I'm 
playing  for  an  early  twilight  effect — just  before  the 
storm.  I  want  my  negative  carried  (developed) 
\er\  soft.  Just  hold  your  half-tones  and  shadows 
to  a  mere  suggestion.  I've  got  a  lot  of  stuff  with 
Felice  in  the  semi-foreground. —  DeKondeau  and  Biff 
man  are  with  her — both  to  the  left.  Play  for  Felice 
—give  me  everything  you  can  in  her  face — DeRon- 
deau  and  Biff  man  may  go  a  bit  to  the  heavy  (dark) 
side  in  their  faces — but  never  mind.  Felice  is  put- 
ting over  the  emotional  stuff  and  we've  got  to  get  it 
across  without  a  single  title — I  don't  care  how  far 
you  sacrifice  the  fellows — Give  me  plenty  of  clean 
face  on  Felice!" 

There — 1  ask  you — What  could  be  sweeter?  Very 
clear,  and  quite  comprehensive,  isn't  it? — At  any 
rate,  it  is  up  to  us  and  so  we  go  ahead. 

The  Mills  of  the  Gods  grind  slowly — but  not  the 
mills  of  the  fastest  little  old  industry  the  world  has 
ever  known. 

On  the  Lot 

F-arly  the  next  morning  I'm  on  the  Great  Western 
Int.  In  the  projection  room — Among  those  present, 
Mr.  (leorge  \V.  Boss — Huff,  the  production  manager; 
Mills,  the  assistant  cameraman;  Shapiro,  the  art 
director  -and — yours  very  truly. 

The  hum  of  the  projection  machine  and — as  Fred 


AMERICAN     CINEMATOGRAPHER 


April,  1924 


A.   S.   C.  Members 


Are  seldom  at  liberty 
When  they  are,  they  may 
be  reached  by  phoning  or 
writing  A.  S.  C  head- 
quarters. 


FOR  RENT! 

■ 

Bell  &  Howell  Cameras 

Complete  Equipment 

4C-50  75 

M 

M.    Lenses                                170 

Shu 

tters 

J.    R.    LOCKWOOD 

523   North   Orange   St. 

Phone 

Glend 

ale  3361-W                      Glendale, 

Ca 

ifornia 

FOR  SALE 

BELL    &    HOWELL    OUTFIT 
Camera,   Tripods,    Improved   Thalhammer    Iris,   Six    Maga- 
gines,    40    mm.,    50mm.,   75mm.    and    110   mm.    Lenses,    also 
Verito    75    mm.,    Carrying    Cases    and    Trunk. 

OUTFITTED    TO    SATISFY    THE    MOST    EXACTING 

Right    price    and    right    terms   to    right    party. 

Call    J.    A.    Dubray,    615    North    Windsor   Blvd. 

Phone   433-305 

Los    Angeles 


April,  1924 


AMERICAN     C INEM ATOGR APH ER 


Twenty-three 


Automatic  Cine  Camera 

AND 

Portable  Cine  Projector 
3yp??/  On  display 

cAt  Our  '■Branches  and  at 
Leading    'Dealers   Everywhere 

Immediate   Deliveries 

See  them  at  our   offices: 


You   get    what   yon   see    with 
the  Filmo  Automatic 


632'"-  Santa    Monica    Blvd.,    Hollywood. 
1301    Larchmont  Ave.,    Chicago.  220   W.  42nd   St.,    New  York. 

Write  for  descriptive  catalog 

Outstanding  and  Exclusive  Features 


FILMO    CAMERA 

Weight — 4'/a    lbs- 
Size— 3x6x8-in. 
Shutter — 216° 

l_ens — F  3.5    Cooke    Anastlgmat. 
Tripod — None    required. 
Viewfinder — Like     a     binocular — 
"What   vou    sec   you    get." 
Cunlity — B   &    H    Standard. 
Price— $185.00    including    tax. 


FILMO    PROJECTOR 
Weight— 9   lbs. 

Size — Folds    In   case    8x11x11-in. 
Shutter— 216°    High   Speed. 
Lens — Universal     Mountings    for 

all   focal    lengths   1   to  4-in. 
Movement — 9   to    1. 
Forward,       Reverse,      Stops      for 

Single   picture.   Air   Cooled. 
Quality — B   S.    H    Standard. 
Price— $175.00. 


The    F  i  I  m  o    Portable    Cine 

Projector  ready  for  icork 

or    pleasure 


New  York 


BELL  dc  HOWELL  CO. 

1801    Larchmont    Ave. 

CHICAGO 


Hollywood 


(Continued  from  Page  22 
Niblo  said — the  panic  is  on. 

The  first  is  a  medium  long  shot  off  the  beach — 
toward  the  open  sea.  Felice,  DeRondeau  and  Biff- 
man  are  in  the  foreground  and  doing  their  stuff. 
I'm  proud  of  our  chief  developer — he  has  followed 
Horton's  instructions  to  the  letter  ( bnt,  unfortun- 
ately, Horton  is  out  on  location  at  Redondo  with 
Griffman  and  the  rest  of  the  company) — Yes,  sir 
(or  Ma'm)  —  I'm  jnst  plain  proud  of  us  and — who 
fired  that  shot? 


The  Boss  Bolts 

Boss,  himself,  pulls  a  verbal  ex- 


Mr.   George  W 
plosion. 

''Well — I'll  be — Hey!  What  are  you  birds  over  at 
that  lab  trying  to  pull  on  me? — Look  at  that — 
Look  at  that — Why  that  scene  is  so  dark  that  it  looks 
like  we  were  playing  for  a  black  silhouette  effect. 
Where's  that  brig  in  the  background  that  cost  us  an 
even  thousand  berries — ??????  Where — where — 
Saaay — this  won't  do — -all  wrong — why  it's  lost!" — 
and  in  the  stygean  darkness  of  that  long  narrow 
room   I  hear  him  scream — "Stop  it — Stop  it— Oper- 


ator!— LIGHTS  !"— and  as  the  lights  flash  on  as  the 
screen  goes  blank — I  look  to  George  W.  Boss  and 
am  all  set  ready  to  explain  when — believe  me  or  not 
—there  he  sits — looking  daggers  and  damnation  at 
me — through  heavy  amber  sun  glasses. 

What  Dark  Glasses  Do 

Now  1 1  ask  you,  as  a  brother  Elk  or  Moose  or — 
Goal  I  what  would  you  do  in  a  case  like  that?  Tell 
Mr.  George  W.  Boss  to  take  off  the  heavy  cheaters? 
Not  while  you  valued  the  Great  Western  account 
you  wouldn't — I  had  to  think — quick.  I  always 
carry  a  negative  report  with  me.  I  had  it  with  me 
now — I  pulled  it  from  my  pocket  and  went  over  to 
Mr.  G.  W.  Boss  as  I  started  on  a  line  of  fast  con- 
versation. Eureka  ! — It  worked  ! — He  did  just  what 
I  had  hoped  he  would.  He  took  off  the  amber  specs 
and  put  on  his  reading  glasses  to  scan  the  report. 
While  he  was  thus  busily  engaged  I  assumed  the 
role  of  the  forty-first  thief  and  garnered  the  amber 
cheaters  from  the  chair  arm  where  he'd  placed  them 
when  he  switched.  I  kept  on  talking  and  explain 
ing  as  he  read — and  while  he  was  reading  I  buzzed 
the  o[>erator  to  rewind  the  deceptive  and  at  the  prop 


Twenty-four 


AMERICAN     C  INEM ATOG R APHER 


April,  1924 


Triumphs; 
"Lilies  Of  The  Field' 


Corinne  Griffith 

Opened  in  New  York  City,  March    i6ch 


AND 


The  Truly  Great  Accomplishment  of 


"The  Thief  Of  Bagdad" 


Douglas  Fairbanks 

Opened  in  New  York  City,  March   18th 


-AND 


The  Supreme  Achievement  of 


"Dorothy  Vernon  Of  H addon  Hall"  -  The  Greatest 

.« 


Triumph  of  Mary  Pickford 

Opened  in  Los  Angeles,  March   18th 


— AND- 


rSECRETS" 

Opened  in  Los  Angeles,  March   20th 


The  Versatile  Artistry  of     Norma   Talmadge 
All   Materialized   For  The   Screen 


BY 


ROTHACKER-ALLER  LABORATORIES,  Inc. 


5515   MELROSE   AVE. 
HOLLYWOOD     7180 


(Continued  from  Page  23) 
er    moment    I    signaled    for   "Lights    Out"    and    the 
shadows  hit  the  screen  again. 

Fast  Shuffled 

Mr.  (George  W.  Ross  was  so  keenly  interested  that 
he  forgot  to  switch  specs  again  and — he  grudgingly 
admitted  that  perhaps  the  projection  arc  was  a  bit 
weak  on  the  first  run — and  the  stuff  did  look  pretty 
good — and  I  just  jessed  him  until  the  reel  had  run 
out  -and  he  confessed  that  Horton  was  a  great 
cameraman  and  that  Felice  was  a  knockout  and  that 
Griffman  was  a  genius  and  that  ours  was  a  pretty 
good  laboratory 

And  this  is  just  another  reason  why,  instead  of 
haviug  my  office  fitted  up  like  any  other  regular 
business  man — I  have  mine  equipped  with  all  flic 
nios!  efficient  appliances  of  the  ultra  modern  padded 
cell. 

Therefore — if  you  should  ever  visit  a  real  boni- 
fide  asylum  and  a  long  haired  chap  comes  up  to  con- 
tide  in  you  that  he's  Napoleon — don't  you  believe 
him. 

I      myself — personally — I   am   Napoleon. 

Page  Josephine! 


Reggie  Lyons,  A.  S.  C,  has  completed  camera 
work  on  J.  Stuart  Rlackton's  production  of  Robert 
Chambers'  "Between  Friends"  for  Vitagraph. 


Stephen  S.  Norton,  A.  S.  C,  is  receiving  the 
plaudits  of  the  critics  for  the  superior  grade  of  his 
cinematography  in  "Love's  Whirlpool,"  in  which  he 
filmed  a  notable  cast  headed  by  dames  Kirkwood 
and  Lila  Lee. 


Harry  Perry,  A.  S.  C,  has  completed  photograph- 
ing "The  Throw-Rack,"  a  Tom  Forman  production 
for  Universal. 


Jackson  J.  Rose,  A.  S.  C,  is  hard  at  work  on  his 
latest  Universal  production. 


George  Schneiderman,  A.  S.  C,  when  last  heard 
from,  was  still  on  location  at  \Yadsworth,  Nevada, 
filming  important  sequences  for  a  forthcoming  Fox 
feature  production. 

•     «     • 

ITomer  Scott,  A.  S.  C,  and  Fred  Jackman, 
A.  S.  <\.  have  returned  from  a  flying  week-end  trip 
to  Mexico. 


James  Van  Trees,  A.  S.  (\,  is  photographing  John 
F.  Dillon's  latest  production  for  First  National. 


April,  1924 


AMERICAN     CINEM  ATOGR  APHER 


Twenty-Av* 


REI 

February  17th, 

.EASES 

1924  to  March  23,  1924 

TITLE 

PHOTOGRAPHED  BY 

"The   Yankee  Consul" 

Max  Dupont,  member  A.  S.  C. 

"Shadows   of  Paris" 

Bert   Baldridge 

"Thy    Name    Is   Woman" 

Victor  Milner,  member  A.  S.  C. 

"Yolanda" 

Ira   H.    Morgan  and  George   Barnes, 
members  A.  S.  C. 

"Ride  for  Your  Life" 

Virgil   Miller 

"Leave   It    to   Gerry" 

Eddie  Linden  and  Jack  Stevens 

"The   Blizzard" 

Not   Credited 

"The  Uninvited  Guest" 

Jay   Reseller  and  J.  O.  Taylor 

"Do    It   Now" 

Roland   Price  and  Edgar  Lyons 

"North    of   Hudson   Bay" 

Dan  Clark,  member  A.  S.  C. 

"The   Law   Forbids" 

Charles  Kaufman 

"Poisoned   Paradise" 

Karl  Struss 

"Happiness" 

Chester   A.   Lyons 

"America" 

Henry  Sartov,  G.  W.  Bitzer,  Marcel  Le  Picard. 
member  A.  S.  C,  H.  S.  Sintzenich 

"No    Mother   to   Guide    Her" 

Tom  Malloy 

"North  of   Nevada" 

Ross  Fisher,  member  A.  S.  C. 

"The  Night  Message" 

Jackson  J.  Rose,  member  A.  S.  C. 

"Floodgates" 

Joseph    Settle 

"Kentucky  Days" 

Not  Credited 

"Three  O'clock- in  the  Morning" 

Jack  Brown,  Billy  McCoy  and  Neal  Sullivan 

"Wild   Oranges" 

John  W.  Boyle,  member  A.  S.  C. 

"Fools   Highway" 

William   Fildew,  member  A.  S.  C. 

"Daughters  of  Today" 

Milton  Moore 

"Icebound" 

L.  Guy  Wilky,  member  A.  S.  C. 

"Discontented  Husbands" 

King  Gray,  member  A.  S.  C. 

"The   Phantom   Horseman" 

Merrit  B.   Gerstad 

"The   Lone  Wagon" 

Elmer  Dyer 

"A  Woman  Who   Sinned" 

Hal  Mohr  and  Gene  Smith 

"Drums  of  Jeopardy" 

James    Diamond 

"The  Vagabond  Trail" 

Joe  August 

"Love's  Whirlpool" 

Steve  Norton,  member  A.  S.  C. 

"Women  Who  Give" 

Percy    Hilburn 

"Lilies  of  the   Field" 

J.  C.  Van  Trees,  member  A.  S.  C. 

"A  Society  Scandal" 

Hal    Rosson 

"Stolen  Secrets" 

Charles  Stumar,  member  A.  S.  C. 

"The  Wolf  Man" 

Don  Short,  member  A.  S.  C. 
and  Michael  Farley 

"Waterfront  Wolves" 

Not  Credited 

"Flowing  Gold" 

Gilbert  Warrenton,  member  A.  S.  C. 

"The   Isle  of  Vanishing  Men" 

Not   Credited 

"The  Hill  Billy" 

Dave   Kesson  and  Allen  Thompson 

"The  Fighting  Coward" 

Karl  Brown,  member  A.  S.  C. 

"The  Storm  Daughter" 

Jules  Cronjager 

"The  Thief  of  Bagdad" 

Arthur   Edeson,    Philip   H.   Whitman,    Kenneth 
MacLean,  members  A.  S.  C., 
and  Richard   Holahan 

"Conductor  1492" 

Charles  Gilson 

"The  Arizona  Express" 

Not  Credited 

r%venty-slx 


AMERICAN     CINEMATOGRAPHER 


April,  1924 


John  W.  Boyle,  A.  S.  C,  is  making  cinematogra- 
phic preparations  in  Rome  while  the  largest  sta^e 
in  Europe  is  being  built  for  the  production  of  "Ben 
Hur,"  which  the  A.  S.  C.  nieniber  will  film  for 
Goldwyn  Pictures  Corporation.  Boyle's  work  will 
entail  (he  stocking  of  a  complete  laboratory,  the 
mustering  of  direct  current  generators,  lights,  spots 
and  other  paraphernalia.  Charles  Brabin  will  he 
the  director  and  June  Mathis  the  editorial  director. 
The  i-iisl  which  Boyle  will  photograph  includ»s 
George  Walsh,  Frances  X.  Bushman,  Carmel  Myers. 
Kathleen  Key  and  Gertrude  Olmstead. 

*  •     • 

PL  Lyman  Broening,  A.  S.  C,  has  finished  filming 
1Ik>  Graf  production,  "The  Wise  Ron,"  a  comedy 
drama  with  a  cast  numbering  Bryant  Washburn, 
Peggy  Wales,  Kslelle  Taylor,  Alec  15.  Francis, 
Eugenie    Besserer   and    Sydney    Bracy.     Phil    Rosen 

directed. 

•  •      • 

John  Arnold,  A.  S.  C.  is  photographing  "Along 
Came  Until,"  the  latest  Metro  production  starring 
Viola    Dana.    Fdward   ("line   is   directing.    Winifred 

!>i adapted.     And    need    it   be   added    that    John 

has  photographed  every  picture  in  which  Miss  Dana 
has  appeared  since  she  became  a  star? 

•  •     • 

Fred  Leroy  Granville,  A.  S.  C,  is  in  England  di- 
recting "Pirates'  Hoard,"  his  latest  production. 
Peggy   Hyland  and  Tylden  Wright  head  the  cast. 

•  •     • 

David  Abel,  A.  S.  C,  is  coming  in  for  a  lion's 
share  of  praise  for  his  camera  artistry  in  the  War- 
ner Brothers'  production  of  "Bean  Brummel,"  which 
is  being  given  its  first  exhibitions. 

*  *     * 

Andre  Barlatier.  A.  S.  C,  is  the  first  A.  S.  C. 
member  to  have  registered  this  year.  The  California 
voters'  registration  closes  on  April  fifth. 

*  »     * 

Georges  Benoit,  A.  S.  <\.  has  just  finished  the 
filming  of  the  Belasco  production,  "Welcome  Stran- 
ger," the  cast  of  which,  directed  by  James  Young, 
included  Florence  Vidor,  Virginia  Browne  Faire, 
Robert  Edeson,  Dore  Davidson,  Lloyd  flushes.  Wil- 
liam Mong  and  Noah  Beery.  As  he  was  putting  the 
finishing  touches  on  the  Belasco  production,  Benoit 
had  the  misfortune  to  return  home  one  nijjjht  to  find 
I  lull  his  home  had  been  rifled  by  burglars.  Several 
hundred  dollars  worth  of  valuables  were  stolen,  most 
of  which  was  covered  by  insurance,  with  the  excep- 
tion of  a  brand  new  French  stereoscopic  camera. 
This  was  taken  while  the  thieves  left  behind  other 
cameras  and  equipment  which  were  covered  by  in 
surance. 


Dan  Clark,  A.  S.  C,  has  established  something  in 
the  nature  of  a  record,  it  is  believed,  in  beginning 
the  filming  of  his  twentieth  production  starring 
Tom  Mix  since  January,  1!)22.  Dan's  unit  is  one  of 
the  busiest  in  filmdom  and  has  the  entire  West  for 
its  shooting  grounds. 

*  *     » 

Joseph  Dubray,  A.  S.  C.  at  the  order  of  his  phy- 
sicians, has  begun  a  long  rest.  Dubray's  close  appli- 
cation to  his  camera  work,  which  continued  without 
break  for  more  than  a  year,  brought  on  over  work  in:,'. 

•  •     • 

Arthur  Edeson,  A.  S.  C,  having  completed  the 
supervision  of  the  making  of  the  release  prints  for 
Douglas  Fairbanks'  "The  Thief  of  Bagdad,"  has  be- 
guu    the    filming   of    the    latest    production    starring 

Jack    Pick  ford. 

#  #     * 

Ton\  Gaudio,  A.  S.  C,  was  given  lavish  praise  for 
the  photographic  excellence  of  "Secrets,"  which. 
starring  Norma  Talmadge,  was  given  its  premiere 
in  Los  Angeles  recently. 

*  #   .  • 

Al  Gilks,  A.  S.  <\,  can  say  "hello"  again  without 
effort  and  plain,  having  recovered  from  the  effects  of 
an  accident  which  attended  his  initiation  to  the 
mysteries  of  the  golf  links,  Al  was  the  receiving  end 
of  a  hurtling  driver  which  slipped  from  the  perspir- 
ing hands  of  a  fellow  "olfsman.  The  A.  S.  C.  mem 
her  suffered  bad  damage  to  a  previously  perfect  den- 
tal display,  a  couple  of  the  upper  front  teeth  havinir 
broken  off,  not  to  mention  a  badly  lacerated  lip. 
»     •     • 

Bert  Glennon,  A.  S.  C,  has  finished  the  photogra 
phy  on  "Triumph,"  the  latest  Cecil  P..  DeMille  pro- 
duction.  Glennon  is  responsible  for  the  superb  cine- 
matography  in  "The  Ten  Commandments." 

»     •     » 

Frank  P..  Good,  A.  S.  C,  is  in  San  Francisco  pho- 
tographing "Robinson  Crnsoe,  Jr.,"  Jackie  Coogan's 

latest  production. 

*  *     * 

King  Cray.  A.  S.  C,  is  enjoying  a  vacation  after 
.in  engagement  at  the  Wilnat   Studios. 

»     *     * 

John  F.  Seitz,  A.  S.  C,  has  returned  from  North 
ern  Africa  and  Paris  to  New  York  City,  where  he 
will  remain  for  some  time  before  coming  to  Holly- 
wood. Seitz  photographed  "The  Arab,"  the  latest 
Bex  Ingram  production  which   was  made  abroad. 

•  #     # 

L.  (lav  Wilk.v,  A.  S.  C,  has  returned  to  Los  Ang- 
les from  New  York  City,  where  he  filmed  the  latest 
William  de    Mille  production. 


HOW  TO  LOCATE  MEMBERS  OF  THE 

American 
Society    of    Cinematographers 

Phone  H-Olly    4404 

OFFICERS 

•In mips  C.  Van  Trees President 

John  F.  Seitz First  Vice  President 

Charles  Van  Enger Second  Vice-President 

Victor   Milner  ...........  Third  Vice  President 

Frank  B.  Good Treasurer 

Philip  II.  Whitman  Secretary 


Gaetano  Gaudio 
Victor  Milner 
Walter  Griffin 
James  Van  Trees 
Reginald  Lyons 


BOARD  OF  GOVERNORS 

Frank  B.  Good 
Fred  W.  Jackman 
Jackson  J.  Rose 
Charles  Stumar 
Homer  A.  Scott 


Paul  Perry 
Charles  Van  Ftiger 
George  Schneiderman 
Philip  H.  Whitman 
L.  Guy  Wilky 


Abel.    David — with    Warner   Brothers. 
Arnold.    John — with   Viola   Dana,    Metro   Studio. 
Barlatier,    Andre — 

Barnes,    George    S. — with    Cosmopolitan,    New    York. 
Beckway,   Wm. — with  Capt.  Corlett,  Mexico. 
Benoit,    Georges — Belasco   Prod.,   United   Studios. 
Broening,   K.    Lyman- 
Boyle,    John   W. — "Ben    Hur."    Goldwyn;    Charles    Brabin, 

Director;    "Ones"    Borne,    Italy, 
Brodin,    Norbert   F. — Frank   Lloyd   Prods.,    First    National, 

United    Studios. 
Brotherton.  Joseph — with   Fox. 

Brown,    Karl — with    Jamea    Cruze,    Lasky    Studio. 
Cann,    Bert — Europe. 
Clark,   Dan — with  Tom  Mix.  Fox. 

Corby,   Francis — with  Hamilton-White,  Fine  Arts  Studios. 
Cowling.    Herford    T. — Travel    Pictures.    Asia. 
Cionjager.    Henry — with    Lasky    Studio,    New    York. 
Mean,     Faxon    M. — with    Joe    Henabery,     Lasky    Studio. 
Poran,     Robert    S. — with     Roach     Studio. 
Dored,     John — Scenic,     Russia.     Pathe. 
Dubray,    Joseph    A. — with    R-C    Studio. 
HuPar,    E.    B. — with    Warner    Brothers. 
Du   Pont,   Max   B.— Tahiti. 
Edeson,     Arthur — with     Douglas     Fairbanks,     Fairbanks- 

Pickford   Studio. 
Rvans,    Perry — 

Pi 'dew,    William — with    Irving    Cummings.     Universal. 
Fisher,  Ross  G. — with  A.  J.   Brown  Prods.,   Russell  Studio. 
Candio,  Tony  G. — with   Norma  Talmadge,  Joseph  Schenck 

Productions.     United    Studio 
Gilks,   Alfred— with    Sam  Wood,   Lasky   Studio. 
1   1. -1111(111.    Bert — with   Cecil   P.   DeMillc, 
Good,    Prank    B. — with    Jackie   Cooara",    Metro   Studio. 
Granville.   Fred  L. — directing.   British  International  Corp.. 

London. 

dray,    King — Wilnat    Studios. 

Griffin.    Walter    L.— 

Guissart,    Rene— 

Haller.   Ernest — ■ 

Heimerl,   Alois  G. 

Jackman,    Floyd — with   Fred   Jackman, 

Jackman,    Fred    W. — directing,    Roach 


Roach    Studio. 
Studio. 


Koenekamp.    Hans    F.— with    Larry    Semon. 

Kiill.    Edward — with    Universal. 

Kurrle,    Robert — 

landers.   Sam — with   first   National.    United   Studio. 

Lockwood,    J.    R. — 


Lundin,  Walter— with  Harold  Lloyd  Prods.,  Hollywood 
Studios. 

Lyons,    Reginald   E. — with   J.   Stuart   Blackton,   Vitagraph. 

MacLean,   Kenneth    G.— With  Fox.  ' 

Marshall,   William — with  Carlos  Productions. 

Meehan,  George — with  Jack  White  Corp.,  Fine  Arts 
Studio. 

Milner,    Victor — with    Fred    Niblo,    Clune's    Studio. 

Morgan.  Ira  H. — Marion   Davies,  Cosmopolitan,   New  York. 

Newhard,   Robert  S. — Nell  Shipman  Prods.,   Coolin,  Idaho. 

Norton.   Stephen  S. — with  Ince  Studio. 

Overbaugh,    Roy    F. — New    York    City. 

Palmer,    Ernest    S. — 

LePicard,    Marcel — New   York. 

Perry,   Harrj — With  Tom  Forman. 

Perry,    Paul   P. — 

Polito.   Sol — - 

Ries,   Park,  J. — 

Rizard.  Georges — 

Rose.   Jackson — With   King   Baggott.   Universal   Studio. 

Rosher,  Charles — With  Mary  Pickford.  Pickford-  Fair- 
banks  Studio. 

Schneiderman,   George — Fox   Studio. 

Scott,    Homer — 

Seitss,   John   F. — With   Rex    Ingram. 

Sharp,    Henrv — With   Ince   Studio. 

Short,    Don— With   Fox   Studio. 

Smith.   Steve,  Jr. — With  Vitagraph  Studio. 

Steene.   E.   Burton — New  York. 

Stumar,   John — With   Wm.    Seiter.   Warner   Bios. 

Stumar,    Charles — With    Hohart    Henley. 

Thorpe,    Harry — 

Tolhurst,  Louis  H. — "Secret  s  of  Life."  Microscopic  Pic- 
tures.  Principal   Pictures   Corporation. 

Totheroh.  Rollie  H.— With  Charlie  Chaplin,  Chaplin 
Studio. 

Van   Buren,    Ned — In   New   York. 

Van  Enger,    Charles — with   Ernst   Lubitseh,   Warner  Bros. 

Van  Trees,  James — with  John  Francis  Dillion,  United 
Studios. 

Walter,  R.  W. — With  Mack  Sennet  Productions,  Sennett 
Studio. 

Warrenton.   Gilbert — With  First   National,  United  Studios. 

Whitman.  Philip  H. — With  Wm.  Randolph  Hearst  pic- 
tures.   New    York. 

Wilky,    L.    Guy— With    William    De    Mille.    Lasky    Studio. 


Edison.    Thomas   A. — Honorary    Member. 
Paley,    William    "Daddy" — Honorary    Member. 
Webb.    Arthur   C. — Attorney. 
Meetings  of  the  American   Society  of   Cinematographers  are  held  every  Monday  evening    On  the  first  and  the  third 
Monday  of  each  month  the  open  meeting  is  held;  and  on  the  second  and  the  fourth,  the  meeting  of  the  Board  of 
Governors. 


LOYALTY 


PROGRESS 


ART 


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-•%'CH 


v°NSt 


^°He^ 


°ctol 


1923 


at«6utiai°   'he  iif   ?" 


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May,  1924 


25  cents 
A  Copy 


'Jt^S&Z&jsgg&S 


American 


Cinematographer 

Published  by  the  American  Society  of  Ginematographers,  Inc. 


This  Month 

Soviets  Imprison  A.  S.  C.  Member  for  News 
"Scoop"  in  Filming  Lenin's  Funeral  at  Moscow 

By  John  Dored,  A.  S.  C. 

A.  S.  C.  Elects  New  Officers 

Merger  of  Eastern  Laboratories  is  Announced 


PUBLISHED  IN      HOLLYWOOD     CALIFORNIA 


£»^S^^s^^^^ 


RE 

March  23, 

LEASES 

1924  to  April  17,  1924- 

TITLE 

PHOTOGRAPHED  BY 

The  Shooting  of  Dan   McGrew 

R.  J.  Bergquist 

King  of  Wild   Horses 

Floyd  Jackman,  member  A.  S.  C. 

A  Boy  of  Flanders 

Frank  B.  Good,  member  A.  S.  C. 

Secrets 

Tony  Gaudio,  member  A.  S.  C. 

The  Hoosier  Schoolmaster 

Edward   Paul 

The  Next  Corner 

Alfred  Gilks,  member  A.  S.  C. 

His  Darker  Self 

Not  Credited 

Singer  Jim  McKee 

Dwight  Warren 

The  Fly 

Louis  H.  Tolhurst,  member  A.  S.  C. 

Which  Shall  It  Be? 

Renaud  Hoffman 

The  Dawn  of  Tomorrow 

Charles  G.  Clarke 

Three  Weeks 

John  J.   Mescall 

Girl  Shy 

Walter  Lundin,  member  A.  S.  C. 

The    Plunderer 

Jules  Cronjager 

His  Forgotten  Wife 

Max  Du  Pont,  member  A.  S.  C. 

The  Galloping   Ace 

Merritt  Gerstad 

Gambling  Wives 

Eddie  Linden  and  Jack  Stevens 

Galloping  Gallagher 

Ross  Fisher,  member  A.  S.  C. 

Rough  Ridin' 

Ernest  Haller,  member  A.  S.  C. 

Yankee  Madness 

Pliny  Goodfriend 

Dangerous  Trails 

Not  Credited 

The   Breaking  Point 

James  Howe 

Excitement 

Jackson  J.  Rose,  member  A.  S.  C. 

The  Beloved  Vagabond 

Walter   Blakely 

Beau  Brummel 

David  Abel,   member  A.  S.  C. 

Virtuous  Liars 

Edward  Paul 

Try  And  Get  It 

Not  Credited 

A  Man's  Mate 

G.   O.   Post 

Mile-A-Minute  Morgan 

Elmer   Dwyer 

The  Confidence  Man 

Henry  Cronjager,  member  A.  S.  C. 

Cytherea 

Arthur  Miller 

The  Silent  Stranger 

Ross   Fisher,    member   A.   S.   C. 

Nellie,   the  Beautiful  Cloak   Mod 

el      Lucien  Andriot 

Surging  Seas 

Ernest  Miller 

Second  Youth 

J.   Roy  Hunt 

The  Dancing  Cheat 

V/m.  Thornley 

Between  Friends 

Steve    Smith  and     Reginald     Lyons,    members 
A.  S.  C. 

The  Enchanted  Cottage 

George  Folsey 

• 

Vol.  5  MAY,   1924  No.  2 

American 
Cinematoqrapher 

Foster   Goss,  Editor  and  Business  Manager 
Board  of  Editors — Victor  Milner,  H.  Lyman  Broeninc,    Karl    Brown,    Philip    H.    Whitman 
Alfred  B.  Hitchins,  Ph.  D.,  F.  R.  P.  S.,  F.  R.  M.  S.,  F.  C.  S.,  Associate  Editor  and  Ne<w  York 
Representative,  33  West  60th  Street,  Room  602,  New  York  City 


Contents 

Page 

Soviets  Imprison   A.  S.   C.  Member  for  News  "Scoop"   in    Filming  Lenin's 

Funeral  at  Moscow— By  JOHN  DORED,  A.  S.   C.  .             .         * 

A.  S.  C.  Elects  New  Officers                     .                   .                   .  .               .          5 

Exhibitors  Herald  Forms   Camera  Department                     .  7 

Behind   the   Camera   With   A.   8.   C.   Members                     .  .                   .8 

Tolhurst  In   Neiv  Microscopic   Film    Triumph                      .  .                   .9 

Drama  League  Convention   to  Honor   Cinema  at   Pasadena  .               .              9 

The  Editors'  Lens                      .                    .                    .                    .  10 

Merger  of  Eastern  Laboratories  Is  Announced                     .  .                   .12 

A.  S.  C.  Members  In  Camera  Hall  of  Fame                     .  .                   .13 

In    Camerafornia                   .                    .                    .                    .  .                    .26 

A.  S.  C.  Roster                      .                    .                    .                    .  .                    .27 


An  educational  and  instructive  publication,  espousing  progress    and   art   in   motion    picture   photography. 

Published  monthly   by  THE  AMERICAN   SOCIETY    OF    CINEMATOGRAPHERS,    Inc. 
Subscription  terms:  United  States,  $3.00  a  year;  Canada,  $3.50  a  year;  foreign,  $4.00  a  year;  single  copies 

25   cents.     Advertising   rates   on   application. 
Hollywood,   California  Telephone   HOIlywood  4404 

(Copyright,  1924,  by  The  American  Society  of  Cinemalographers,  Inc.) 


Four 


AMERICAN      CINEM  ATOGR  APHER 


May,  1924 


Soviets  Imprison  A*  S*  Q  Member  for  News 
"Scoop"  in  Filming  Lenin's  Funeral  at  Moscow 


Cinematographer  Defies 
Red  Monopoly  and  Photo- 
graphs Burial  of  Lenin. 

When  motion  picture  patrons  sat 
peacefully  in  a  comfortable  theatre 
and  saw  the  views  of  Lenin's  funeral, 
how  many  of  them  realized  the  ter- 
rors and  hardships  which  one  cinema- 
tographer went  through  to  make  it 
possible  that  they  appear  on  an  Ameri- 
can screen?  Dored,  through  sheer 
grit  and  courage,  succeeded,  knowing 
Russia  as  he  does,  where  others  would 
have  failed.  And  in  spite  of  all  the 
dangers  he  went  through,  he  calmly 
says  that  he  is  ready  to  go  into  Russia 
again — into  a  country  where  he  is  a 
marked  man  and  where  marked  men 
are  killed  like  rats. 

Interesting  from  a  technical  stand- 
point, Dored's  story  here  is  doubly  in- 
teresting from  a  sociological  and  in- 
dustrial perspective.     It  is  one  of  the 


The  duties  of  "news"  cinematographer  are  compara- 
tively the  same  as  those  of  a  soldier  during  war  time  on 
a  battlefield.  As  the  cinematographer,  so  the  soldier  must 
always  be  ready,  in  a  moments  notice,  for  action,  as  soon 
as  orders  have  been  received.  The  outstanding  differ- 
ence in  these  two  professions,  is  their  weapon,  the  soldier 
sticking  to  his  rifle,  but  the  cinematographer  to  the 
camera.  Doubtless,  many  people  will  find  this  theory 
exaggerated ;  however,  it  is  not  so.  I  could  count  quite 
many  cases  where  the  cinematographer  is  risking  not  a 
bit  less  than  a  soldier  on  the  firing  line.  Take  for  in- 
stance the  war  films,  from  the  great  war,  many  of  them 
taken  from  the  first  lines  during  action.  Take  the  num- 
erous aviation  films;  does  the  cinematographer,  recording 
them  on  his  film,  not  undergo  the  same  risk  as  the  pilot 
himself?  Or,  let  us  think  of  films,  taken  in  far-away  and 
wild  lands,  taken  individually  or  with  expeditions;  just 
think  of  all  the  risks  and  hardships  the  cinematographer 
had,  to  get  the  stuff  he  was  after!  The  "news"  cinema- 
tographer must  be  always  alert,  always  be  on  lookout  for 
events,  for  some  world's  trouble,  because  the  world's 
troubles  are  his  bread  and  butter — where  there  is  a 
trouble,  there  is  a  cinematographer. 

To  illustrate,  what  an  ordeal  a  "news"  cinematographer 
has  to  go  through  some  time  to  get  the  stuff, — I  want 
to  recite  here  my  own  late  experience  in  conjunction  with 
Lenin's  funeral  in  Moscow,  January  27th   1924. 
Soviet  Refuses  Vise 

I  am  free-lancing  for  a  leading  American  "news"  reel. 
My  working  territory  is  the  Baltic  States,  with  my 
headquarters  in  Riga,  Latvia.  Russia  also  would  be  my 
territory  but  for  the  fact  that  the  Soviet  Government  has 


By  John  Dored,  A.  S.  C. 


Dored  Describes  Six  Weeks 
of  Incarceration  in  Inhuman 
Soviet  Prisons. 

extremely  few  stories  which  have 
authentically  reached  print  of  Soviet 
methods  generally  and  especially 
those  dealing  with  the  prisoner — who 
if  he  is  not  in  prison  or  if  he  hasn't 
been  in  prison,  Dored  states,  is  doom- 
ed to  be  there  if  he  stays  under  the 
Red  regime  long  enough. 

How  the  A.  S.  C.  member  got 
the  Lenin  funeral  films — which  ul- 
timately came  to  America — how  he 
got  them  out  of  Russia  is  another 
story.  It  is  not  treated  in  this  article 
and  cannot  ethically  be  told  at  this 
time  as  Dored  is  still  following  his 
profession  in  regions  adjacent  to  Rus- 
sia and  is  far  from  being  removed 
from  the  Red  grip. — Editor's  Note — 

Re-publication,  in  whole  or  in  part,  is 
expressly  forbidden. 


persistently  refused  me  a  vise,  until  the  Lenin's  funeral, 
to  enter  Russia  for  the  purpose  of  taking  pictures. 
Tip  From  New  York 

Early  in  the  morning,  January  23rd,  when  I  was  still 
under  my  blankets,  I  received  a  cablegram  from  my  firm 
from  New  York,  instructing  me  to  take  all  necessary 
steps  to  proceed  immediately  to  Moscow  to  take  the 
Lenin  funeral.  From  this  cable  I  first  learned  the  news 
that  Lenin  had  died,  as  the  Riga  morning  newspaper 
had  not  been  delivered  to  me  as  yet.  That  morning,  I 
was  the  first  visitor  of  the  Soviet  Mission  of  Riga,  ap- 
plying for  a  special  vise  to  Russia  and  which  I  was  ac- 
corded after  some  deliberations  with  the  Soviet  Ambas- 
sador, without  his  asking,  as  usual,  Moscow  first.  There 
was  not  time  for  querying  Moscow,  as,  in  order  to  reach 
the  funeral  on  time,  I  had  to  leave  Moscow-wards  the 
same  day. 

Special  Letter 

The  Soviet  Ambassador  understood  the  importance  that 
this  event  should  be  seen  widely  by  the  American  public 
by  means  of  big  "news"  reel,  which  I  represent,  so  he 
issued  me  not  only  a  special  vise  both  ways,  but  also  gave 
me  a  letter  of  introduction  to  the  Foreign  Office  in 
Moscow  and  another  for  the  borderline  authorities,  in- 
structing them  to  let  me  through  at  the  border  customs 
without  trouble  with  all  my  cameras  and  raw  stock. 
Russian   Trips  Risky 

Going  to  Soviet  Russia  is  not  the  same  thing  as  going 

to  some  other  European  country;  it  is  always  considered 

as  a  risky  undertaking.    To  cite  here  the  reasons  for  such 

opinion,  would  be  too  long  a  story  and  out  of  place — I 

(Continued  on  page  15) 


May,  1924 


AMERICAN      CINEMATOGRAPHER 


Five 


A.  S.  C.  Elects 
New  Officers 


Gaetano  Gaudio  Is 

New  President.     Busy 

Year  Ahead  for  Society 


r 


Gaetano   Gaudio,   A.    S.    C 


Gilbert  Warrenton,  A.  S.  C 


Homer   Scott,   A.   S.   C. 


Officers  were  elected  as  follows  to  head  activities  of  the 
American  Society  of  Cinematographers  for  the  coming 
year: 

Gaetano  Gaudio,  president;  Gilbert  Warrenton,  Karl 
Brown  and  Homer  Scott,  vice-presidents;  Charles  J.  Van 
Enger,  treasurer;  and  Victor  Milner,  secretary. 

The  Board  of  Governors  elected  for  the  correspond- 
ing period  includes  the  following  15  A.  S.  C.  members: 
Victor  Milner,  Philip  H.  Whitman,  James  C.  Van 
Trees,  the  retiring  president;  Frank  B.  Good,  H.  Ly- 
man Broening,  Homer  Scott,  Fred  W.  Jackman,  Charles 
Van  Enger,  Gaetano  Gaudio,  Gilbert  Warrenton,  King 
D.  Gray,  Reginald  Lyons,  Paul  P.  Perry,  John  F.  Seitz 
and  Karl  Brown.  Because  of  his  absence  from  Los 
Angeles,  Philip  H.  Whitman,  who  is  in  New  York  City 
at  the  present  time  for  Cosmopolitan  productions  and 
who  has  just  completed  his  third  term  as  secretary  of  the 
A.  S.  C,  is  being  replaced  pro  tem.,  until  his  return  from 
the  East,  by  L.  Guy  Wilky  on  the  Board  of  Governors. 
Gaudio's  Record 

Gaetano  Gaudio,  the  new  president,  is  ranked  as  one 
of  the  world's  foremost  cinematographers.  He  is  a  vet- 
eran in  his  calling,  having  begun  his  career  in  Italy  in 
1902.  He  filmed  Italian  vehicles  for  four  years  when  he 
came  to  the  United  States  where  he  continued  the  pro- 
fession which  he  chose  as  his  life's  calling. 
One  of  the  Pioneers 

Gaudio,  as  will  be  seen  from  the  date  he  entered  the 
field  of  cinematography,  is  one  of  the  real  pioneers  in 
the  industry.  He  had  already  had  several  years  ex- 
perience when  the  motion  picture  trust  was  still  flourish- 
ing and  filmed  various  of  the  present  celebrities  in  some  of 


their  initial  cinema  endeavors.  He  was  early  identified 
with  the  enterprises  of  Carl  Laemmle  and,  in  fact,  had 
charge,  besides  being  cinematographer,  of  the  Imp.  com- 
pany laboratory  under  Laemmle. 

Innumerable  of  the  first  productions  to  reach  the 
motion  picture  screen  were  filmed  by  Gaudio.  During 
his  unvarying  prominence  in  cinematographic  circles,  he 
has  photographed  many  of  the  screen's  outstanding  pro- 
ductions. Before  assuming  his  present  affiliation  as  chief 
cinematographer  for  Joseph  M.  Schenck  productions, 
Gaudio  presided  over  the  camera  for  such  vehicles  as  all 
of  the  Harold  Lockwood  productions  for  T.  J.  Balsho- 
fer;  the  Klaw  and  Erlanger  special  productions  for  Bio- 
graph  ;  Marshall  Neilan's  "Unpardonable  Sins,"  "In  Old 
Kentucky"  and  "Kingdom  of  Her  Dream,"  the  latter  two 
of  which  starred  Anita  Stewart;  Allan  Dwan's  "The 
Forbidden  Thing,"  and  "The  Sin  of  Martha;"  "Kismet" 
with  Otis  Skinner;  J.  L.  Frothingham's  "The  Ten  Dol- 
lar Raise,"  "The  Other  Woman,"  "A  Bride  of  the 
Gods,"  "The  Man  Who  Smiled"  and  "Pilgrim  of 
Night." 

Since  joining  Joseph  M.  Schenck  productions,  the  A. 
S.  C.  president  has  photographed  Constance  Talmadge 
in  "East  is  West;"  and  all  of  the  Norma  Talmadge 
features  including,  among  others,  "The  Eternal  Flame," 
"Ashes  of  Vengenance"  and   "Secrets." 

Gilbert  Warrenton,  one  of  the  new  vice  presidents, 
began  his  career  as  cinematographer  in  1912  at  Uni- 
versal .  Since  that  time  his  consistency  as  a  cinemato- 
grapher has  become  well  established  with  productions 
filmed  for  him  variously  at  Triangle,  American,  Fine 
Arts,  Famous  Players-Lasky,  Cosmopolitan     and     more 


Six 


AMERICAN      C1NKMATOCRAPIIF.R 


May,  1924 


^ttPCGW 


If 


Chxrif.s  J.  Van  Encer,  A.  S.  C. 


Victor   Milnf.r,   A.   S.   C. 


lately  with  First  National  and  Rupert  Julian. 
Warrenton  Filmed  "Humoresque." 

One  of  Warrenton's  outstanding  productions  for  Cos- 
mopolitan was  the  sensationally  successful  "Humoresque," 
the  theme  of  which  necessarily  depended  to  a  great  degree 
on  sympathetic  and  atmospheric  cinematography  for 
proper  dramatic  exposition.  Warrenton  filmed  numerous 
Paramount  productions  made  in  the  East — "Playthings 
of  Broadway,"  "Little  Italy,"  "Dawn  of  the  East," 
"Land  of  Hope"  and  "Hush  Money." 

Alice  Brady,  Justine  Johnston,  Dorothy  Dalton  and 
others  of  the  screen's  foremost  players  have  appeared  be- 
fore his  camera.  He  recently  filmed  the  First  National 
success,  "Flowing  Gold,"  and  at  present  is  photograph- 
ing Rupert  Julian's  "We  Are  French,"  which  is  being 
made  at  Universal  City. 

With  Griffith 

If  nothing  else  were  said  than  the  fact  that  Karl 
Brown,  one  of  the  new  vice-presidents,  was  chief  cinema- 
tographer  on  "The  Covered  Wagon,"  his  fame  might  be 
well  established  by  that  alone.  But  Brown's  successes 
are  by  no  means  limited  to  "The  Covered  Wagon."  Hav- 
ing begun  his  career  more  than  12  years  ago,  we  find  his 
name  prominently  connected  with  such  vehicles  of  yes- 
teryear as  D.  W.  Griffith's  "Intolerance,"  "Hearts  of  the 
World,"  on  both  of  which  he  turned  second,  "The 
Great  Love"  and  "Romance  of  Harry  Valley." 

For  18  months  at  the  beginning  of  his  career,  Brown 
busied  himself  in  the  laboratory.  Six  months  he  spent 
as  a  still  man,  and  he  finally  broke  into  active  participa- 
tion in  cinematography  with  a  year's  experience  as  an  as- 
sistant, following  which  he  served  two  years  on  second 
before  he  won  his  spurs  as  a  full-fledged  first  cinemato- 
grapher. 

Chronologically,  Brown's  career  reads  as  follows: 
Spring,  1912,  joined  Kinemacolor  Co.  of  America;  1913, 
still  man  with  Selig,  having  worked  with  Colin  Camp- 
bell on  "The  Spoilers;"  in  1913,  he  became  assistant 
with  G.  W.  Bitzer  with  D.  W.  Griffith;  in  1915,  he 
was  detailed  to  the  Griffith  experimental  department. 


Broivn  s  Experiments 

This  latter  position  allowed  Brown  the  greatest  free- 
dom to  experiment  and  to  develop  any  idea  that  might  be 
of  photographic  value.  In  this  department,  Brown  pro- 
duced every  effect  used  in  Griffith  productions  from  1915 
to  1920.  In  1916,  he  signed  a  four  year  personal  agree- 
ment with  D.  W.  Griffith.  In  1918,  he  joined  the  army 
and  in  1919,  when  he  was  discharged  from  the  army, 
he  returned  to  his  Griffith  connection. 

In  December,  1919,  Brown  began  his  affiliation  with 
Famous  Players-Lasky,  for  whom  he  filmed  "The  Four- 
teenth Man,"  "The  Life  of  the  Party,"  "The  Travel- 
ing Salesman,"  "Brewster's  Millions,"  "The  Dollar  a 
Year  Man,"  "Should  a  Man  Marry,"  "Gasoline  Gus," 
"One  Glorious  Day,"  and  "Is  Matrimony  a  Failure?" 
The  James  Cruze  successes  have  all  been  photographed  by 
Brown,  including  "The  Old  Homestead,"  "The  Covered 
Wagon,"  "Ruggles  of  Red  Gap"  and  "The  Fighting 
Coward."  Brown,  like  Victor  Milner,  the  new  secretary, 
is  a  valued  member  of  the  board  of  editors  of  the  Ameri- 
can Cinematographer,  to  which  he  has  made  invaluable 
contributions. 

Scott  Is  Versatile 

Homer  Scott,  one  of  the  new  vice-presidents,  has  had 
a  long  and  varied  career  as  a  cinematographer,  during 
which  time  he  has  shot  some  of  the  outstanding  features 
as  well  as  photographed  in  Mexico  under  the  most  ad- 
verse conditions. 

Submarine  Work 

Scott  was  a  pioneer  in  submarine  work,  having  photo- 
graphed Annette  Kellerman  in  "What  Women  Like" 
and   "Deep  Waters." 

Sennett  Features 

Scott  later  filled  a  long  period  of  service  with  Mack 
Sennett  studios  where  he  shot  many  of  the  best-known 
comedies  to  be  produced.  He  has  to  his  credit  numerous 
of  the  Sennett  features  including  "Heartbalm,"  "Mol- 
ly-O"  and  "Suzanna"  which  had  Mabel  Normand  for 
their  star. 

(Continued  on  page  25) 


May,  1924 


AMERICAN      CI NEMATOGRAPHER 


Seven 


Exhibitors  Herald  Forms  Camera  Department 


Prominent  Trade  Paper 
Praises  Achievements  of 
Cinematographers. 

Whole-hearted  recognition  of  the  cinematographer  has 
been  given  by  the  Exhibitors  Herald  which,  in  its  issue 
of  April  26,  began  a  permanent  department  "devoted 
to  the  advancement  of  screen  photography"  with  an  ex- 
planatory foreword  that  "this  department  is  dedicated  to 
the  cinematographers  of  the  country,  and  is  published 
for  the  purpose  of  bringing  to  exhibitors  and  producers  a 
better  understanding  of  the  men  who  are  in  such  a  large 
measure  responsible  for  the  advance  in  art,  lighting  and 
photography  of  motion  pictures." 

Leads  to  Public 

The  importance  of  the  Exhibitors  Herald  in  thus  de- 
dicating a  department  to  the  cinematographer  cannot  be 
overlooked.  Students  of  the  camera  have  long  recognized 
that  a  sincere  appreciation  of  cinematography  on  the  part 
of  the  exhibitors  is  a  strong  connecting  link  between  the 
cinematographer  and  the  public  which  ultimately  sees 
his  work. 

Exhibitor  Interest 

It  is  also  forcibly  pointed  out  that  the  exhibitor  him- 
self should  not  be  impervious  to  the  merits  of  superior 
cinematography;  and,  circulated  widely  as  it  is  among 
the  exhibitors  in  which  field  it  was  a  pioneer,  the  Ex- 
hibitors Herald  is  in  a  position  to  do  untold  good  in  a 
direction  in  which  the  American  Cinematographer  has 
shaped  its  efforts  so  long — sensible  recognition  of  screen 
photography. 

Nichols  In  Charge 

H.  E.  Nichols,  a  special  representative  of  the  Exhibi- 
tors Herald  on  the  West  Coast  with  present  headquar- 
ters at  the  Herald's  Los  Angeles  office  of  which  Harry 
Hammond  Beall  is  manager,  has  spent  several  weeks  at 
the  various  studios  in  the  interest  of  the  new  cinemato- 
graphers' department  which,  it  is  stated,  will  be  in  his 
active  charge. 

Pictorial  Division 

The  initial  appearance  of  the  department  carries  pic- 
tures of  well-known  cinematographers  and  their  direc- 
tors. A.  S.  C.  members  who  appear  in  the  pictures  in- 
clude William  Fildew,  Jackson  J.  Rose,  Arthur  Edeson, 
Frances  Corby,  Norbert  Brodin  and  Frank  B.  Good. 

Van  Buren  Letter  Reprinted 

It  is  believed  that  the  Herald's  exhibitor  readers  will 
find  interesting  the  re-print,  in  the  new  cinematographer 
department,  of  the  American  Cinematographer's  repro- 
duction of  the  letter  of  Ned  Van  Buren,  A.  S.  C,  to 
Joseph  Plunkett,  managing  director  of  the  New  York 
Strand,  relative  to  the  cutting  of  cinematographers'  credit 
titles  from  releases  shown  in  the  Strand  and  other 
theatres. 


New  Section  Devoted  to  the 
Interests  of  Cinematographic 
Artists. 

Practical  Department 

That  the  Exhibitors  Herald  has  established  an  ex- 
tremely practical  department,  both  from  the  viewpoint 
of  its  readers  among  exhibitors  and  among  studios,  can- 
not be  doubted.  It  is  the  belief  of  those  who  are  in  a 
position  to  know  that  the  Herald  will  find,  as  the  Ameri- 
can Cinematographer  has  discovered  long  since,  that  an 
important  number  of  people — particularly  projectionists — 
on  the  staffs  of  exhibitors  (if  not  the  exhibitors  them- 
selves) have  a  live  interest  in  cinematographic  affairs, 
and  the  exhibitors  magazine  which  takes  cognizance  of 
that  interest  surely  will  never  have  cause  to  regret  for 
having  done  so. 


"Ben-Hur"  Company  Busy  with 

Pre-Shooting  Arrangements 

Tremendous  preparations  now  being  made  to  film 
"Ben  Hur"  are  described  in  a  letter  received  from  June 
Mathis,  editorial  director  of  the  Goldwyn  studios  who  is 
now  in  Italy  with  the  company  which  is  to  film  the  im- 
mortal Lew  Wallace  story. 

The  company  is  now  preparing  to  film  the  galley  scenes 
at  Anzio,  Italy.  The  slave  galleys  already  have  been 
built.  Miss  Mathis  describes  the  company's  experiences 
in  Anzio  thus: 

"The  citizens  tendered  us  some  sort  of  ceremony,  at 
Anzio,  where  we  are  to  do  the  galley  scenes.  The  city 
was  presented  with  one  hundred  and  fifty  dollars — I 
never  saw  such  a  fuss  made  over  that  sum  of  money  be- 
fore. Colonel  Braden  (technical  director)  Mr.  Brabin, 
Mr.  Edington,  the  business  manager,  Mr.  Boyle,  the 
cinematographer  and  myself  partook  of  the  repast  they 
gave  us. 

"There  were  about  25  Italian  officials  connected  with 
the  city  and  the  shipyards.  They  stood  around  and  made 
speeches,  to  the  accompaniment  of  the  popping  of  cham- 
pagne corks  and  the  booming  of  Vermouth  and  cordial 
bottles.  Although  it  was  seven  o'clock  in  the  evening,  they 
served  us  nothing  but  cake,  pastry — and  champagne." 


Frederick  C.  Albert  In  New  Position 
with  National  Cash  Register 


Frederick  C.  Albert,  well-known  in  Middle  Western 
cinematographic  circles,  has  become  affliated  with  the 
Photographic  Department  of  the  National  Cash  Register 
Company,  Dayton,  Ohio. 

Albert,  prior  to  making  his  new  connection,  was  on  the 
staff  of  a  leading  Dayton  newspaper  for  some  time. 


Eight 


AMERICAN      CINEMATOGRAPHER 


May,  1924 


Behind  the  Camera  with  A*  S*  C*  Members 


Above,  right,  presents  a  view  which 
the  Metro  press  department  describes 
thus:  "John  Arnold,  A.  S.  C,  says  it 
is  difficult  to  photograph  through  a 
human  head,  particularly  a  director's 
cranium.  The  man  hiding  behind  the 
megaphone  is  Edward  Cline,  director 
of  Viola  Dana  in  "Along  Came  Ruth." 

Below,  left,  wherein  the  cinema- 
tographer,  Bert  Glennon,  A.  S.  C, 
explains  the  value  of  color  of  make-up 
to  bring  out  half  tones  and  skin  tex- 
ture that  gives  the  star,  Leatrice  Joy, 
"the  skin  you  love  to  touch"  on  the 
screen.  Miss  Joy  is  the  star  in  Cecil 
B.  De  Mille's  "Triumph,"  of  which 
Glennon    was    chief    cinematographer. 

Beloiv,  right,  Herford  Tynes  Cowl- 
ing, A.  S.  C,  solves  the  problem  in 
carrying  heavy  camera  equipment. 
This  shot  catches  the  A.  S.  C.  member 
in  a  scene  during  his  present  expedi- 
tion  in  India. 


55-friSC 


May,  19U 


AMERICAN      CINEMATOGRAPHER 


Nine 


Tolhurst  in  New  Microscopic  Film  Triumph 


A.  S.  C.  Member  to  Film 
Scientific  Vehicle  of  Feat- 
ure Length. 

For  the  first  time  in  the  history  of  motion  pictures  an 
"educational"  is  to  be  made  on  the  same  elaborate  scale 
as  any  of  the  big  super-productions  and  "road-showed" 
at  top  prices. 

Word  of  this  radical  departure  in  film  progress  has  just 
come  from  Principal  Pictures,  where,  for  the  past  few 
months  Sol  Lesser,  producer  of  the  Harold  Bell  Wright 
productions  and  Louis  H.  Tolhurst,  A.  S.  C,  scientist 
and  maker  of  the  "Secrets  of  Life"  series,  have  been 
working  quietly  on  a  scenario  which,  when  filmed,  is  des- 
tined to  prove  one  of  the  most  astounding  creations  that 
have  yet  come  out  of  picture-land. 

"Life  Secrets"  Successful 

The  task  of  serving  educational  films  in  delectable 
form  is  not  new  to  Lesser  and  Tolhurst.  Their  series 
of  short  subjects  know  as  "The  Secrets  of  Life,"  treat- 
ing of  the  life  of  the  ant,  the  doodlebug,  the  spider,  the 
fly  and  other  insects,  have  taken  the  country  by  storm 
and  have  proved  to  be  the  most  successful  series  of  short 
reel  subjects  released  this  year. 

Entertainment  Plus  Education 
Notwithstanding  their  authenticity  from  an  educa- 
tional standpoint  these  films,  with  their  abundance  of 
humor,  have  proved  that  a  picture  may  contain  a  maxi- 
mum of  entertainment  value  and  yet  serve  as  excellent 
educational  material. 

Volumes  In  Book  Form 

Although  the  exact  nature  of  the  big  production  has 
not  yet  been  made  public,  it  is  understood  that  it  will 
treat  of  the  development  of  life  from  its  earliest  stages, 
encompassing  in  its  scope  a  field  that  would  take  many 
volumes  to  describe  in  book  form. 

An  undertaking,  such  as  the  vast  one  contemplated, 
would  be  looked  upon  skeptically  by  practical  picture 
men  were  it  undertaken  by  any  but  Lesser. 

But  this  producer,  with  his  almost  uncanny  knowledge 
of  "what  will  prove  successful  at  the  box-office,"  com- 
mands the  respect  of  all  picturedom  through  his  record 
of  achievement. 

It  was  he  who  first  brought  out  Jackie  Coogan  as  a 
star  in  such  productions  as  "Peck's  Bad  Boy,"  "Circus 
Day,"  "Oliver  Twist,"  etc.,  after  Jackie's  sensational 
characterization  in  Chaplin's  "The  Kid." 

Speaking  of  Sol  Lesser  and  the  contemplated  project 
of  the  "super-educational,"  Tolhurst  says:  "It  is  not 
alone  Mr.  Lesser's  knowledge  of  the  practical  side  of 
producing  that  will  make  this  picture  a  success.  It  is 
his  sense  of  responsibility  to  the  public  which  he  always 
feels,  and  his  desire  to  give  to  the  world  only  creations 
that  render  a  service — films  that  make  folks  happy,  that 
make  them  think,  and  both. 

'A  student  and  educator  himself,  it  was  only  natural 
that  Sol  Lesser  would  be  the  logical  producer  to  go  to 
when  I   first  conceived  the  insect  pictures  which  he  has 


"Secrets  of  Life"  Prove  Suc- 
cess of  Microscopic  Motion 
Picture. 

since  released  under  the  title  of  Secrets  of  Life.  His 
masterly  handling  of  this  series  is  prophetic  of  the  suc- 
cess which  our  educational  picture,  to  be  produced  on  a 
super-production  basis,  is  bound  to  achieve." 


Drama  League  Convention  to 

Honor  Cinema  at  Pasadena 


Southern  California  being  Filmdom's  capital,  the 
Drama  League  of  America  has  decided  to  devote  one  ses- 
sion of  its  forthcoming  convention  to  the  Silent  Drama, 
because  it  is  meeting  in  Pasadena  which  is  a  neighbor- 
city  to  Hollywood.  The  convention  will  be  held  May 
27  to  June  2,  next. 

This  will  be  the  first  time  in  the  history  of  the  Drama 
League,  which  is  now  fourteen  years  old,  that  any  of- 
ficial recognition  has  been  given  to  the  screen.  Owing  to 
its  increasing  importance  and  the  mighty  strides  in  pro- 
duction that  have  been  made  during  the  past  year  motion 
pictures  will  be  the  special  order  of  business,  Saturday 
afternoon,  May  31. 

An  interesting  program  is  being  prepared.  William 
C.  deMille  has  been  invited  to  be  the  chief  speaker;  and 
there  will  be  other  equally  well  known  workers  in  the 
motion  picture  field  to  discuss  their  problems  and  aspi- 
rations from  a  dramatic  standpoint.  The  final  day  of 
the  convention  will  be  in  charge  of  the  Los  Angeles 
branch  of  the  Drama  League,  who  will  take  the  delegates 
on  a  tour  of  the  studios  of  Hollywood  and  Culver  City. 

In  connection  with  the  Drama  League  Convention, 
there  will  be  a  conference  of  representatives  of  the  little, 
art  and  community  theatres  of  the  land.  One  of  the 
leading  non-professional  groups  of  the  country — the 
Pasadena  Community  Players — will  contribute  to  the 
program  of  entertainment.  In  this  way,  the  Drama 
League  hopes  to  draw  all  the  different  elements  contri- 
buting to  the  amusement  of  the  people  dramatically  closer 
together. 


Bert  Glennon,  A.  S.  C.  Praised  for 

Work  in  De  Mille's  "Triumph" 


Fresh  praise  for  the  cinematographic  artistry  of  Bert 
Glennon,  A.  S.  C,  is  being  given  by  critics  who  have 
reviewed  Cecil  B.  De  Mille's  production  of  "Triumph." 

In  this  production  Glennon  duplicates  the  photo- 
graphic excellence  which  is  playing  so  large  a  part  in  the 
success  of  De  Mille's  "Ten  Commandments,"  on  which 
the  A.  S.  C.  member  was  chief  cinematographer. 


Ten  AMERICAN      CINEMATOGRAPHER  May,  1924 


The  Editors'  Lens  -  -  -  f°cused  h  Foster  Goss 


Drama  Honors  Films 

^  Announcement  is  made  that  an  important  part  of  the  forthcoming 
drama  league  convention  in  Pasadena,  California,  is  to  be  de- 
voted to  motion  pictures.  The  silent  drama  should  be  proud  of 
the  compliment  coming,  as  it  does,  from  such  a  notable  assem- 
blage that  has  decided  to  do  films  honor. 

IJ  In  particular,  the  success  of  the  community  players  in  Pasadena 
is  a  thing  to  be  admired,  just  as  the  progress  of  the  cinema  is  to  be 
admired.  The  Pasadena  venture  illustrates  that  an  American 
community  likes  drama — and  when  it  likes  drama,  it  likes  motion 
pictures. 

C|  If  films  were  inclined  to  be  selfish  in  the  instance  of  Pasadena, 
they  might  well  lay  claim  to  a  lively  sprig  of  the  Crown  City 
laurel  wreath,  for,  it  might  be  said,  the  Pasadena  idea  has  been 
"sold,"  in  a  publicity  way,  to  the  residents  of  that  city  and  of 
Southern  California.  And  the  person  who  has  been  responsible 
for  this  wholesome  means  of  salesmanship  was  one  of  the  first 
motion  picture  and  studio  publicity  directors  in  Southern  Cali- 
fornia— H.  O.  Stechan,  who  left  films  to  broadcast  Pasadena's 
movement  to  national  fame.  Truly,  the  cinema's  loss  here  was 
the  legitimate's  gain. 

Excise  Tax  On  Cameras  and  Lenses 


C|  Cinematographic  and  photographic  quarters  are  still  "up  in 
arms"  to  have  the  federal  excise  tax  on  cameras  and  lenses  re- 
pealed. Little,  if  any,  results  have  come  as  yet  from  their  efforts 
but  this  situation  is  proving  a  spur  rather  than  a  hindrance.  An 
Eastern  subscriber  calls  attention  to  an  important  point,  as  fol- 
lows: 

Cfl  "Cameras  and  lenses  are  the  only  articles  subject  to  excise  taxes 
which  come  under  the  head  of  apparatus  used  by  a  large  number 
of  men  to  earn  their  living  with;  in  other  words,  the  tools  of 
their  trade,  and  this  is  a  very  unjust  discrimination  against  the 
photographic  business.  These  taxes  affect  approximately  11,000 
photographic  studios,  about  1000  commercial  photographers,  a 
large  number  of  press  photographers  and  motion  picture  photo- 
graphers, also  a  great  many  scientific  men  and  professional  men 
who  use  photography  in  their  work;  and  photography  is  used  by 


May,  1924  AMERICAN      CINEMATOGRAPHER  Eleven 


the  Federal  Government,  every  State  Government  and  practi- 
cally every  educational  institution  has  a  photographic  depart- 


ment." 


A  Progressive  Step 

l|  An  account  appears  elsewhere  in  this  issue  of  the  founding  by  the 
Exhibitors  Herald  of  a  cinematographers'  department.  This 
publication  wishes  to  congratulate  the  Herald  on  its  progress. 
The  Quigley  trade  paper  has  been  in  direct  touch  with  the  ex- 
hibitors for  a  long  time,  and  the  cinematographers'  department's 
presentation  to  the  Herald's  readers  should  ultimately  work 
much  good  for  all  concerned. 

f|  This  publication  believes  that  the  Herald  will  find  that  interest 
in  cinematography  extends  to  more  persons  than  those  for  whom 
it  is  an  absolute  means  of  livelihood.  When  that  interest  extends 
to  exhibitors  to  the  extent  that  none  of  them  are  moved  to  cut  out 
the  cinematographers'  credit  titles,  then  a  worthy  accomplish- 
ment will  have  come  to  pass. 

The  Nonentity  Disspelled 

IJ  The  Illustrated  Daily  News  of  Los  Angeles  deserves  the  cine- 
matographer's  appreciation  for  the  manner  in  which,  through 
L.  B.  Fowler,  motion  picture  editor,  it  handles  production  stills 
which  appear  in  Mr.  Fowler's  department.  The  time  was — and 
it  has  not  entirely  passed — when  the  caption  under  a  photograph 
bearing  the  likenesses  of  the  cinematographer  and  other  mem- 
bers of  the  company  utterly  failed  to  include  the  cinemato- 
grapher's  name,  or  at  the  best  inconsequentially  referred  to  him 
in  some  such  fashion  as  "and  the  cameraman."  • 

IJ  But  the  Daily  News  has  thrown  the  procedure  to  the  discard. 
Every  cinematographer  who  appears  on  a  production  still  in  its 
pages  is  fully  referred  to  by  name  in  the  caption  accompanying 
the  picture,  all  of  which  continues  to  make  friends  for  the  Daily 
News. 

Cf  While  we  are  on  the  subject  of  Los  Angeles  newspapers,  the  fact 
should  be  noted  that  Pearl  Rail,  drama  editor  of  the  Evening  Ex- 
press, credits  the  cinematographer  in  the  reviews  in  her  depart- 
ment whenever  the  cinematographer's  name  is  ascertainable. 

€J  Miss  Rail,  moreover,  is  appreciative  of  the  merits  of  cinemato- 
graphy and  never  fails  to  point  out  the  high  points  in  superior 
work. 


Ticel<ve 


AMERICAN      CINEMATOGRAPHER 


May,  1924 


Merger  of  Eastern  Laboratories  Is  Announced 


Craftsmen,  Erbograph,  Re- 
public and  Commercial 
Traders  in  Consolidation. 

Announcement  has  been  made  of  the  consolidation  of 
important  Eastern  film  laboratories,  to  be  known  as  Con- 
solidated Film  Industries,  Inc.,  with  a  capitalization  of 
$6,000,000.00.  Consolidated  Film  Industries,  Inc.,  have 
taken  over  all  the  assets  and  the  businesses  of  Craftsmen 
Film  Laboratories,  Erbograph  Company,  Republic  Labo- 
ratories and  Commercial  Traders  Cinema  Corporation. 

L.  James  San  will  head  the  new  organization  as  Presi- 
dent and  General  Manager.  Mr.  San  will  immediately 
take  up  the  task  of  coordinating  the  work  of  the  various 
companies. 

Herbert  J.  Yates,  Vice  President,  will  take  charge  of 
sales  and  advertising.  Associated  with  him  as  special 
representatives  will  be  Messrs.  Benjamin  Goetz  and  J. 
Brophy.  Messrs.  W.  H.  Evarts  and  A.  Canter  will  con- 
tinue in  the  Consolidated  sales  force. 

Harry  M.  Goetz  and  Leonard  Abrahams,  Vice  Presi- 
dents, will  have  charge  of  the  management  of  all  of  the 
plants  taken  over,  and  associated  with  them  will  be  the 
complete  technical  staffs  formerly  with  the  various  com- 
panies. 

General   Offices 

Benjamin  Goetz  has  been  elected  Treasurer,  and  Hub- 
ert E.  Witmer  Secretary.  Ludwig  E.  B.  Erb.,  Morris 
San,  Edmund  C.  Dearstyne,  Joseph  San  will  together 
with  the  officers  named  in  the  foregoing  make  up  the 
Board  of  Directors.  The  general  offices  of  the  Consoli- 
dated will  be  established  at  the  earliest  possible  date  at 
729  Seventh  Avenue,  New  York  City. 

Considerable  new  equipment  has  already  been  ordered, 


New  Film  to  Be  Known  As 
Consolidated  Film  Indus- 
tries, Inc. 

with  the  object  of  insuring  uniform  quality  in  all  plants, 
while  a  special  service  department  dedicated  to  the  needs 
of  all  customers  in  every  question  that  affects  film  or 
printings  has  been  organized.  This  service  department 
will  be  operated  for  the  benefit  of  producers,  distributors 
and  exhibitors,  so  as  to  take  care  promptly  of  all  demands 
of  any  nature  and  of  all  questions  that  may  arise — not 
only  in  securing  increased  efficiency  but  better  service 
throughout  the  world. 
L  Plan  Los  Angeles  Establishment 

Arrangements  are  already  under  way  for  the  establish- 
ment of  a  large  laboratory  in  Los  Angeles,  for  the  purpose 
of  first-hand  cooperation  with  Coast  producers  and  dis- 
tributors. 

To  Enter  England 

It  is  also  planned  to  establish  a  large  laboratory  in 
England,  so  that  negatives  turned  over  to  the  Consoli- 
dated in  the  United  States  will  be  available  at  all  times 
for  printing  in  foreign  countries,  thus  not  only  insuring 
proper  custody  and  care  of  valuable  negatives  but  like- 
wise prompt  delivery  of  prints  in  the  countries  where 
they  are  needed  of  the  standard  quality  and  excellence 
established  in  the  American  market. 

The  organization  of  Consolidated  Film  Industries, 
Inc.,  marks  the  retirement  from  active  business  of  Lud- 
wig G.  B.  Erb,  who  welcomes  the  opportunity  to  take  a 
much  needed  rest  from  the  arduous  duties  which  have 
occupied  him  so  successfully  for  so  many  years.  Mr.  Erb, 
however,  has  consented  to  continue  on  the  board  of  di- 
rectors as  chief  technical  advisor. 


Jackson  J.  Rose,  A.  S.  C,  who,  since 
the  earliest  days  at  Essanay,  has 
been  recognized  as  an  ace  in  his 
calling.  Jackson  at  present  is  imbu- 
ing Universal  features  with  cinema- 
tographic   excellence. 


Ernest  Palmer,  A.  S.  C,  who  has  such 
productions  to  his  credit  as  George 
Loane  Tucker's  "Ladies  Must  Live" 
and  "Virtuous  Wives."  Palmer  was 
a  topnotcher  in  England  before  he 
came  here  years   ago. 


Georges  Rizard,  A.  S.  C,  whose  cin- 
ematography in  Charles  Ray's  "The 
Courtship  of  Miles  Standish"  and 
other  Charles  Ray  productions  is 
still  attracting  praise  throughout  the 
land. 


May,  1924 


AMERICAN      CINEM  ATOGRAPHER 


Thirteen 


A*  S.  C.    Members  in   Camera  Hall  of  Fame 


■H^sgagp*- 


Alois  Heimerl,  A.  S.  C,  who  is  a 
veteran  among  veterans.  He  filmed 
more  than  two  score  of  J.  Warren 
Kerrigan's  first  vehicles.  Wallace 
Reid  played  some  of  his  first  roles 
before    HeimerPs   camera. 


MM  V-.- 

i 

% 

0jttg|         .  .  ^ 

f 

i 

Rollie  Totheroh,  A.  S.  C,  who  has 
filmed  Charles  Chaplin's  greatest 
productions.  Rollie's  latest  is  "A 
Woman  of  Paris,"  in  which  harmon- 
izing photography  is  proving  no 
small  factor. 


Dan  Clark,  A.  S.  C,  who  roams  the 
West  with  Tom  Mix  to  get  typical 
Western  atmosphere  for  Fox  produc- 
tions. Dan  is  always  on  the  move 
and  is  a  true  frontiersman  among 
cinema  tographers. 


<^3g&*> 


"Hsjgf*' 


«^smr» 


Robert  S.  Newhard,  A.  S.  C,  whose 
many  releases  have  been  climaxed 
in  Universale  "The  Hunchback  of 
Notre  Dame,"  directed  by  Wallace 
Worsley.  "The  Hunchback"  photo- 
graphy was   superb. 


King  Gray,  A.  S.  C,  who  started  on 
the  road  to  fame  seasons  ago  when 
he  photographed  De  Mille's  original 
"The  Squaw  Man"  which  marked 
the  birth  of  the  Paramount  organ- 
ization. 


Faxon  Dean,  A.  S.  C,  who  has  been 
turning  out  successes  since  long  be- 
fore he  filmed  Lionel  Barrymore  in 
"The  Copperhead."  Dean's  counter- 
part in  his  vehicles  invariably  has 
been  Joe  Henabery,  director. 


Fourteen  AMERICAN      CINEMATOGRAPHER  May,  1924 


EASTMAN 
POSITIVE  FILM 


Make  sure  the  release  print  is  on  Eastman 
Positive  Film  and  you  make  sure  that  the 
photographic  quality  of  the  negative  is  car- 
ried through  to  the  screen  for  your  audi- 
ences to  enjoy. 

Look  for  the  identification  "Eastman" 
"Kodak"  in  black  letters  in  the  film  margin. 


Eastman  Film,  both  regular  and 
tinted  base,  is  available  in  thou- 
sand foot  lengths. 


EASTMAN  KODAK   COMPANY 

ROCHESTER,  N.  Y. 


May,  1924 


AMERICAN      CINEMATOGRAPHER 


Fifteen 


SOVIETS  IMPRISON  A.  S.  C.  MEMBER 

(Continued  from  page  4) 

leave  that  side  of  the  story  to  be  described  by  politicians. 

Shortly  told,  I  had  just  enough  time  to  get  my  pass- 
port, Latvian  and  Russian  vises,  in  order  to  catch  the 
Moscow  train  the  same  day — I  hardly  had  time  to  bid 
good-bye  to  my  family  and  off  I  was.  There  was  no 
time  left  for  thinking  of  the  dangers. 
Passed  the  Buck 

Thirty  six  hours  later,  I  arrived  in  Moscow  without 
any  trouble,  went  immediately  to  the  Foreign  Office  and 
asked  there  for  a  permit  to  film  the  Lenin's  funeral.  The 
Foreign  Office  informed  me  however,  that  all  matters  in 
the  moving  picture  line  were  dealt  exclusively  by  another 
Government  institution,  called  "Goskino"  (Government 
Cinema  Dept. )  and  advised  me  to  apply  there,  giving  me 
their  letter  of  introduction  and  saying:  "In  case  you 
should  have  difficulties  there,  call  on  us  again  and  we 
will  help  you  out  as  much  as  we  can." 
Knows   Russia 

Before  proceeding,  I  want  to  say  that  Russia  used  to 
be  my  own  country  and  is  familiar  to  me  as  such.  During 
the  Soviet  Regime,  I  worked  there  as  cinematographer 
for  nearly  two  years  and  left  Russia  in  1920.  Therefore 
I  know  very  well  the  conditions  of  work  in  my  line 
there  and  know  just  as  well  what  kind  of  organization 
"Goskino"  is  and  what  I  can  expect  from  it  in  the 
Lenin's  funeral  case. 

Films  Monopolized 

I  knew  in  advance  that  I  would  be  refused  the  permit, 
because  "Goskino"  was  always  and  still  is  sticking  hard 
to  its  monopoly  in  the  moving  picture  game  in  Russia. 
They  do  not  like  outsiders. 

Walking  into  the  "Goskino"  offices  I  met  there  several 
of  my  old  friends,  cinematographers,  and  from  them  I 
learned  that  a  special  committee  had  been  formed  by 
"Goskino,"  under  control  of  which  the  Lenin  funeral 
would  be  filmed. 

Modest  Price 

The  chairman  of  this  committee  informed  me  that  no 
one  else  would  be  allowed  to  shoot  the  funeral  except 
"Goskino"  and  that  "Goskino"  itself  would  sell  monopoly 
rights  for  the  picture  to  the  entire  world.  Further  he 
said,  if  my  firm  would  make  an  offer  to  buy  the  Ameri- 
can rights  for  a  sum  exceeding  half  a  million  roubles, 
($250,000)  they  would  be  willing  to  discuss  the  matter 
in  the  committee. 

All  Or  None 

I  glanced  at  his  head  and  found  it  a  bit  swollen,  so 
this  was  the  reason  for  the  $250,000  price!  To  my 
offer  up  to  $5000  dollars  he  would  not  listen  at  all  and 
I  was  flatly  denied  the  permit  in  a  form  of  a  letter. 

With  heavy  heart  I  started  back  to  the  Foreign  Office 
and  asked  their  help.  The  next  day  the  Foreign  Office 
issued  me  a  correspondent's  ticket,  by  virtue  of  which  I 
could  reach  the  Red  Place,  where  the  funeral  had  to 
take  place. 

No  Immunity 

On  this  ticket  was  nothing  said  about  the  right  to  take 
pictures  and  in  reply  to  my  question:  "Can  I  take  pic- 
tures with  this  ticket,"  I  got  a  reply:  "Try  and  take, 
but  we  do  not  guarantee  that  you  will  not  get  arrested." 

I  understood,  that  this  ticket  would  give  me  only  the 
chance  to  reach  the  place  of  the  event,  but  would  not  in 
any  way  protect  me.     I   had  to  take  chances  and  pre- 


From  Canada  to 
Australia 


the  American  Cinematogra- 
pher, its  list  of  subscribers  re- 
veals, is  read  by  men  who,  in 
a  large  measure,  are  keeping 
in  the  van  of  film,  technical 
and  scientific  progress 
through  the  medium  of  its 
columns. 

Truly,  the  sun  never  sets  on 
the  subscribers  to  the  Ameri- 
can Cinematographer. 


To   THE   AMERICAN   CINEMATOGRAPHER: 

Herewith  find  $3.00  to  pay  for  one  year's  subscrip- 
tion to  The  American  Cinematographer,  subscription 

to  begin  ivith  the  issue  of 192.... 

Name 


Address. 


Sixteen 


AMERICAN      CINEM  ATOGR  APHER 


May,  1924 


HEADQUARTERS 

for  Motion  Picture  Cameras 

Now  in  Stock 
THE  NEW  DEBRIE  INTERVIEW 
for  News  &  General  Outdoor  Work 

Now  fitted  with  stop  motion  crank. 
Outside  Focusing  and  diaphram  bars. 
Quick  lens  changing  device. 
Direct  Focusing  tube. 
Adjustable  Shutter. 

Clips  to  hold  up  front  of  camera  when  loading. 
Film  Reverse  and  film  punch. 
Direct  View  finder. 

Same  movement  and  construction  as  professional  Debrie. 
Outfit  comes  fitted  with  2-inch  F  3.5  Tessar  lens; 
2  400-foot  magazines  and  leather  case. 

$500.00 
Motion  Picture  Apparatus  Co.,  Inc. 

118  West  44th  St. New  York  City 

U.  S.  and  Canada  Agents  for  Debrie  Cameras  &  Accessories 


(Continued  from  page  15) 

cautions.  The  correspondent  ticket  was  issued  to  me  by 
a  secretary  of  the  Foreign  Office  Press  Dept.,  Miss  G., 
as  a   simple   courtesy. 

Spies  Plentiful 

The  funeral  was  set  for  the  next  morning  at  nine 
o'clock,  January  27th.  That  day  happened  to  be  the 
coldest  of  the  year,  registering  28  degr.  Reaumur  below 
zero.  This  day  I  had  to  fight  very  hard  with  two  dif- 
ferent factors — with  the  intense  cold  and  with  the  secret 
service  men  of  the  widely  feared  G.  P.  U.  (the  former 
"Cheka,"  Government  Political  Police,)  who  were 
sharply  looking  for  movie  outsiders. 

Soviet  Honor  System 

The  "Goskino"  had  assembled  seventeen  cinemato- 
graphers  to  take  the  funeral.  At  the  side  of  each  of  them 
was  placed  a  communist,  to  prevent  the  cinematographer 
from  slipping  a  box  of  exposed  film  to  somebody,  in  case 
he  wanted  to  do  such  a  stunt.  Besides  that,  another  com- 
munist was  watching  steadily  from  a  certain  distance  his 
individual  set  of  "cinematographer  and  communist,"  for 
the  same  purpose,  one  not  trusting  the  other. 
Plenty   Of  Pussyfooting 

I  also  knew,  that  several  thousands  of  "G.  P.  U." 
secret  service  men  were  on  the  Red  Place,  having  a 
sharpe  eye  on  everything.  And  knowing  all  that,  I  had 
to  be  extremely  careful  at  every  step  in  my  work. 

Naturally,  I  did  not  intend  to  do  any  wrong,  but  I 
did  not  want  to  be  arrested  on  the  spot,  with  all  my 
stuff  and  outfit.  It  would  mean  no  Lenin  funeral  pic- 
ture in  America! 


Got  the  Pictures! 

That  day  luck  was  with  me,  except  a  broken  tripod 
leg,  but  that  was  luck  too !  I  would  have  left  Moscow 
the  same  evening  if  circumstances  were  not  against  me. 
While  passing  the  Russian  borderline  going  to  Moscow, 
I  was  advised  by  its  chief  that  on  my  coming  back,  he 
would  not  let  through  my  stuff  and  outfit  unless  I 
would  produce  a  special  permit  from  the  Foreign  Of- 
fice. Such  permit  I  was  promised  in  the  Foreign  Office 
only  on  Monday,  the  day  following  the  funeral. 
Permit  Delayed 

However  on  Monday  the  Foreign  Office  was  closed, 
as  a  day  of  mourning.  So  I  had  to  postpone  my  de- 
parture to  Tuesday.  But  at  one  o'clock  Tuesday  morn- 
ing, six  armed  men  entered  the  apartment  of  my  mother- 
in-law,  where  I  was  stopping,  pulled  me  out  of  bed  and 
declared  me  under  arrest. 

Four  Hour  Search 

These  were  "G.  P.  U."  secret  service  men — two  com- 
missaries, and  four  rifled  soldiers.  They  entered  the 
apartment  with  a  big  tarraram,  locked  up  my  mother- 
in-law  in  the  kitchen,  put  the  whole  sleepy  house  on  its 
feet  and  a  very  thorough  house  search  began,  which  last- 
ed until  five  in  the  morning. 

Clothes  Ripped  Open 

There  was  not  a  single  object  in  the  whole  apartment, 
which  did  not  undergo  the  most  scrupulous  (or  un- 
scrupulous) examination.  Even  the  lining  of  my  over- 
coat and  of  my  suit  was  partly  ripped.  I  gained  the  im- 
pression that  they  were  seeing  in  me  a  most  fearful  crimi- 
nal or  a  dangerous  spy!  Oh!  This  moving  picture 
business!  !  ! 


May,  1924 


AMERICAN      CINEMATOGRAPHER 


Seventeen 


The  ordeal  of  the  housesearch  was  performed  by  one 
of  the  commissaries  and  by  one  soldier,  the  three  other 
soldiers  were  standing  on  watch,  one  at  each  door  in  the 
apartment  while  the  other  commissary  was  sitting  in  the 
central  room  at  the  table,  overlooking  the  other  rooms 
and  watching  constantly  every  move  of  mine,  without 
pronouncing  a  single  word  during  the  whole  four  hours 
of  search. 

Different  Kind   Of  "Yessing" 

When  the  search  was  over,  a  short  protocol  was  writ- 
ten out,  in  which  were  mentioned  the  things  seized  dur- 
ing the  search  (my  camera  with  accessories  and  all  the 
films,  exposed  and  unexposed).  The  last  question  was 
asked  and  written  in  the  protocol — if  any  of  the  inhabi- 
tants of  the  apartment  or  myself  had  any  complaints 
against  them  and  had  anything  disappeared  during  the 
search.     Naturally,  no  one  had  a  complaint. 

This  protocol  was  signed  by  one  commissary,  by  my 
mother-in-law,  by  myself  and  by  the  chairman  of  house 
committee,  whose  duty  is  to  be  present  all  the  time  dur- 
ing housesearch.  An  automobile  was  called  by  phone 
from  G.  P.  U.  headquarters  and  while  waiting  its  ar- 
rival, I  asked  the  commissary  what  personal  things  I 
should  take  along  with  me.  He  advised  me  to  take  a 
blanket  and  a  pillow,  but  he  did  not  say  a  word  about 
taking  along  with  me  any  money,  watch,  rings  and  my 
"breast  cross." 

What  Prisoner  May   Have 

My  pocket  book,  note  book,  my  passport  and  all  my 
other  documents  were  seized.  The  only  things  a  Rus- 
sian prisoner  is  allowed  to  take  with  him  in  his  cell  are: 
cigarettes,  tobacco,  matches,  teapot,  spoon,  pillow,  blanket, 
two  changes  of  laundry  and  some  foodstuff  (not  canned, 
no  fruits). 

During  the  whole  search  I  was  not  allowed  to  speak 
to  any  of  the  inhabitants  of  the  apartment  and  only  at 
the  last  moment  just  before  walking  out  of  the  apart- 
ment under  the  guard  of  rifled  soldiers  to  the  waiting 
automobile,  was  I  allowed  to  embrace  my  dear  old 
mother-in-law  and  to  kiss  her  good-by. 

After  some  twenty  minutes  drive,  we  reached  the 
famous  G.  P.  U.  prison,  on  Lubianka  Street,  in  the 
very  center  of  Moscow.  This  is  a  long  central 
street,  formerly,  before  the  Soviets  came  in  power,  it  used 
to  be  a  very  lively  business  center  of  Moscow,  but  now 
every  house  of  it  is  occupied  by  the  numerous  departments 
of  G.  P.  U.,  used  partly  as  their  executive  office  and 
partly  as  a  prison. 

Everyone  knows  of  the  G.  P.  U.  Lubianka  prison 
which  has  well  earned  all  over  Russia  and  even  in  foreign 
countries  its  dreadful  reputation,  when  the  "cheka"  was 
still  existing.  There  are  the  solitary  confinement  cells, 
there  are  the  caves,  in  which  many  human  brains  have 
been  blown  out  with  Mauser,  colt  or  Nagan.  To  enter 
this  establishment  without  trembling  it  is  necessary  to 
possess  iron  nerves  and  a  wealth  of  self-confidence. 

As  I  said  before,  going  to  Russia  is  not  the  same  as 
going  to  some  other  country.  So  it  is  with  the  prisons. 
The  Russian  prisons  are  one  thing  and  the  prisons  of 
other  European  countries  are  another. 

Spy  For  Every  Nine  Persons 

To-day,  Moscow  has  approximately  two  million  in- 
habitants, among  them,  as  estimated  by  competent  in- 
mates of  the  prison  (the  Russian  prison  knows  all),  are 
near  fifty  thousand  G.  P.  U.  secret  service  agents.  From 
the  same  source,  I  was  told,  that  taking  the  whole  Rus- 


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Eighteen 


AMERICAN      CINEMATOGRAPHER 


May,  1924 


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(Continued  from  page  17) 

sia's  population,  there  would  be  for  every  nine  inhabi- 
tants one  G.  P.  U.  agent.  No  wonder  that  nearly  every 
step  made  and  every  word  said  in  Russia  is  known  in 
G.  P.  U. 

Take  for  instance  my  own  case.  Stopping  in  Moscow 
in  the  apartment  of  my  mother-in-law  and  having  my 
vises  both  ways,  I  did  not  register  myself  at  the  police 
station  and  nobody  in  Moscow  knew  my  address.  Never- 
theless, the  G.  P.  U.  agents  found  me  mighty  quick  and  it 
shows  the  cleverness  of  this  organization. 
Droll  Writings  On  the  Wall 

The  walls  of  the  nowaday  Russian  prisons  are  covered 
with  all  kinds  of  inscriptions  and  up-to-date  proverbs, 
among  which,  the  most  striking  ones  are  the  following: 
Russian  citizen,  who  has  not  been  a  prisoner — is  not  a 
real  citizen.  Russian  population  is  divided  in  three 
categories : — First :  Those,  who  have  been  in  prison. 
Second :  Those  who  are  in  prison.  Third :  Those, 
who  will  be  in  prison.  There  is  also  one,  which  charac- 
terizes well  the  G.  P.  U.  establishment  and  gives  the 
novices  advice.  It  reads:  "Don't  trust  a  single  word  to 
your  G.  P.  U.  judiciary  inquirer."  Walking  into  the 
G.  P.  U.  prison  under  escort,  I  was  thinking  of  the  sec- 
ond category!  !  ! 

We  entered  a  small  room,  in  which  were  sitting  few 
men.  This  was  the  commandatur  of  the  G.  P.  U.  prison, 
the  reception  room  for  their  newly  arrived  clients.  My 
former  escort  left  the  room.  Another  man,  the  com- 
mandant's assistant,  made  a  fresh  search  of  all  my  pockets, 
took  out  everything  there  was  left  in,  handed  me  a  re- 


ceipt for  all  the  seized  things,  handed  me  a  big  sheet  of 
questions  to  be  filled  out  and  when  this  was  done,  one  of 
the  guards  ordered  me  out  of  the  room  and  I  was  con- 
ducted along  different  corridors  until  we  reached  a  cell, 
marked  No.  3.  The  door  was  opened  and  I  walked  in. 
So  this  was  my  first  prison  cell! 

"Black  Hole  of  Lubianka" 
It  was  about  six  o'clock  in  the  morning.  As  soon  as 
the  door  had  closed  behind  me,  I  noticed  that  the  cell 
was  packed  with  other  prisoners  and  I  was  glad  not  to 
be  alone.  The  size  of  the  cell  was  about  ten  steps 
square.  Both  sides  of  it  had  continuous  beds  of  boards. 
In  the  middle  was  a  narrow  passage  and  one  window. 
There  were  about  forty  people  present.  Every  inch  of 
the  cell  was  occupied,  on  the  board  beds,  under  them, 
and  in  the  passage.  The  air  of  the  cell  was  thick  and 
foul.  There  was  no  ventilation  of  any  kind.  To  open 
the  trap-window  is  strictly  forbidden.  As  soon  as  some 
one  goes  near  it,  the  sentinel  standing  outside  shoots  at 
him  without  warning.  Cases  were  recited  where  people 
have  been  shot  in  that  way. 

Real  "S.  R.  O." 

Some  were  sleeping  in  a  sitting  position,  some  were 
standing  for  lack  of  sitting  room.  To  move  forward  from 
the  door,  I  had  to  step  on  those  who  were  lying  in  the 
passage.  The  whole  place  was  a  mingled  mass  of  human 
beings. 

I  was  very  cheerfully  greeted  and  asked,  who  I  was, 
from  where  I  came  and  what  was  the  reason  for  my  ar- 
rest. I  answered  the  questions  and  gave  the  reason  as 
cinematographing  Lenin's  funeral."     They  laughed  and 


May,  1924 


AMERICAN      CINEMATOGRAPHER 


Nineteen 


said  I  had  been  foolish  to  come  to  Soviet  Russia  for  that. 

They  pointed  out  an  old  peasant  lying  under  the  board 
bed  and  said:  "There  is  another  victim  of  Lenin's 
funeral" !  That  peasant  was  a  delegate  from  a  village 
sent  to  attend  the  funeral  and  while  on  the  Red  Place, 
he  expressed  his  wonderment  about  the  grandeur  of  the 
event  and  had  said :  "In  such  a  grand  way  has  not  been 
buried  even  General  Kutuzow"  (a  celebrated  Russian 
general  of  1812,  who  defeated  Napoleon's  Army). 
A  G.  P.  U.  man  standing  nearby  had  overheard  this 
comparison  and  had  arrested  him. 

Obligatory    Mourning 

There  were  still  other  funeral  victims  present — par- 
ticipants in  a  marriage  party.  Monday,  January 
28th  was  declared  a  day  of  mourning.  It  so  happened 
that  for  this  very  day  there  was  pre-arranged  the  mar- 
riage of  a  couple  in  a  well-to-do  family  apartment.  The 
guests  were  all  present  in  the  apartment  and  were  mak- 
ing merry.  Some  communist  had  seen  the  merry-making 
through  his  window  from  the  house  opposite  and  the  re- 
sult was — everybody  arrested.  And  here  they  were,  the 
ladies  in  their  evening  dress,  the  men  in  tuxedo's,  straight 
from  the  marriage  table  into  the  prison  cell !  What  a 
wonderful  life!  !  ! 

Cosmopolitan  Cellmates 

I  was  immediately  introduced  by  one  of  the  inmates 
in  a  very  humorous  way  to  all  of  my  new  comrades. 
Their  names  and  professions  were  called  and  also  their 

crimes"  named.  What  as  assembly!  Here  were 
present  many  nationalities,  many  professions,  people  of  dif- 
ferent standing,  from  simple  peasant  to  a  Danish  count 
and  a  young  Russian  Prince.  Here,  all  were  equal, 
friendly  and  obliging  to  each  other.  The  variety  of 
professions  and  businesses  represented  here  was*  just  as 
rich:  Engineers,  merchants,  murderers,  thieves,  pick- 
pockets, a  bandit  (who  was  called  out  during  the  intro- 
duction and  shot  in  a  G.  P.  U.  cellar),  an  aviator,  the 
so-called  spies  (a  very  popular  charge  of  the  Soviets, 
about  ten  per  cent  of  the  prisoners)  and  God  knows  what 
others. 

Newcomer  Surrenders  Cigarettes 

While  the  introduction  was  going  on,  everybody  was 
smoking  my  cigarettes.  A  cigarette  in  the  prison  cell  is 
the  most  precious  delicacy  and  the  new-comer  has  to  sur- 
render them. 

Cells,  as  described  here,  are  the  so-called  "prelimi- 
nary" cells.  Here,  everybody  keeps  on  his  clothing  day 
and  night.  It  happens,  that  some  prisoners  are  kept 
here  as  long  as  three  weeks  and  living  for  so  long  a 
period  of  time  and  under  those  dreadful  conditions,  one 
can  readily  imagine  the  sanitary  condition  of  the  place. 
"Cooties"  were  creeping  all  over.  I  was  not  in  there  15 
minutes,  when  I  saw  a  big  "fellow"  creeping  up  my 
sleeve. 

However,  I  was  in  a  very  good  state  of  mind.  I  took 
my  situation  from  the  humorous  side. 

Directed  With  Revolver 

Some  half  hour  later,  the  cell  door  opened  and  my 
name  was  called.  I  was  taken  out  into  the  corridor,  a 
guard,  holding  a  revolver  in  his  hand,  commanded  me  to 
move  forwards,  directing  me  from  behind :  straight  on, 
to  the  left,  to  the  right.  In  such  a  way  we  reached  the 
street.  It  was  still  dark  outside,  the  streets  empty.  My 
escort,  holding  his  gun  steadilly  pointed  at  my  back,  and 
commanding  at  each  new  turn  the  same  way  as  before, 
took  me  to  Lubianka  Street,  until  we  reached  a  big 
building  at  the  gate  of  which  stood  two  rifled  soldiers. 


Down  to  the  Cellars 

My  escort  produced  a  pass  and  we  entered.  I  recog- 
nized the  building — the  headquarters  of  G.  P.  U. — in 
which  severe  cases  are  treated,  like  espionage,  treachery, 
counter-revolution.  For  some  tme,  we  were  walking 
along  different  corridors,  along  railings  descending  to 
the  cellars.  This  was  the  only  moment  that  I  felt  a  lit- 
tle uneasy. 

I  knew,  this  was  a  place,  where  a  man  can  disappear 
from  the  earth's  surface  without  any  one  ever  learning 
his  fate. 

Finally  we  reached  a  room  with  a  sign  on  its  door: 

"Special  Department  of  O.  G.  P.  U."  (United  Gov- 
ernment Political  Police).  A  man  was  sitting  there,  of 
quite  an  appealling  face.  He  bade  me  to  take  a  chair  at 
the  table  and  after  having  arranged  his  papers,  began  to 
interrogate  me. 

Some  Questions  Asked  Again 

He  was  a  judiciary  inquirer.  First  he  filled  out  the 
same  kind  of  questionairre  similar  to  the  one  I  had  pre- 
viously filled  out,  asking  me  question  after  question, 
which  I  had  to  answer  myself  when  brought  to  the  G. 
P.  U.  commandature  an  hour  and  a  half  previously.  The 
questions  dealt  with  my  life  beginning  from  my  birthday 
up  to  that  moment.  For  instance,  where  and  when  born, 
who  are  my  parents,  what  relatives  I  have,  where  they 
were  living,  my  education,  my  social  standing,  profes- 
sion, to  which  political  party  I  belonged  if  any,  with 
what  kind  of  government  I  sympathize,  where  I  have 
worked,  which  countries  I  have  visited,  etc.,  etc. 
The  Trap 

Every  time  a  prisoner  is  interrogated,  no  matter  how 
often,  such  question  blanks  are  always  filled  out  first.  This 
is  done  for  trapping  a  man,  who  is  not  telling  the  truth. 
The  lie  would  be  soon  discovered  by  comparing  the  ques- 
tion sheets.  The  questions  are  so  many,  that  no  matter 
how  good  a  memory  one  may  possess,  it  would  be  im- 
possible to  remember  all  he  said,  except  the  truth. 

From  that  time  began  the  real  inquiry  about  the  mat- 
ter which  brought  me  to  the  prison  cell  i.  e.  the  cinemato- 
graphing  of  Lenin's  funeral.  He  insisted  that  the  cor- 
respondents ticket  did  not  give  me  the  right  to  take 
pictures  . 

Finally  he  said :  "So  far  I  see  you  have  been  telling 
the  truth,  but  now,  I  am  going  to  ask  you  a  question, 
the  answering  of  which  will  decide  your  fate.  I  advise 
you  to  admit  the  fact  and  I  assure  you,  I  will  do  my  best 
to  lighten  your  case,"  and  he  asked:  "Did  you  ask 
Goskino  cameraman  D.  to  take  the  funeral  picture  for 
you  and  offer  to  pay  him  for  that  service  a  certain  sum"  ? 
Incrimination  While  You  Wait 

Having  never  made  such  offer  to  anybody  and  also 
not  to  cameraman  D.,  whom  I  know  personally  very 
slightly,  I  naturally  denied  the  charge.  It  was  clear  to 
me  that  this  is  a  provocation  of  G.  P.  U.  or  some  vile 
trick  against  me  for  one  reason  or  another  on  the  part  of 
D.  himself.  My  inquirer  said  after  that:  "As  you  arc 
denying  the  charge,  I  will  confront  you  with  D.,  but 
you  have  no  right  to  ask  him  questions  nor  to  speak  to 
him."  He  made  a  sign  to  a  guard  and  D.  was  put  in 
the  doorway  in  such  a  manner  that  I  could  not  see  him 
nor  he  could  see  me.  The  inquirer  ordered  D.  to  repeat 
the  words  incriminating  me,  which  he  did.  D.  was 
ordered  away  and  I  was  asked  if  I  recognized  his  voice. 
I  was  not  sure  of  it,  as  I  did  not  know  his  voice  well 
enough.  D.  was  brought  back  and  shown  to  me  face  to 
face  and  I  recognized  him. 


Twenty 


AMERICAN      CINEMATOGRAPHER 


May,  1924 


I  was  puzzled  about  the  charge  of  this  man  against 
me,  as  I  had  never  in  my  life  caused  any  harm  to  him 
whatsoever.  With  this  incident  the  inquiry  was  closed 
and  I  was  brought  back  to  my  cell  in  the  same  manner 
as  I  had  been  taken  from  it. 

The  day  was  breaking  and  on  reaching  my  cell  I  found 
there  everybody  on  foot  already.  It  was  nearly  eight 
o'clock,  and  breakfast  time.  After  a  while  a  teapot  was 
brought  in  the  cell,  some  sugar  and  for  each,  a  pound  of 
black  rye  bread.  After  the  breakfast,  one  of  the  prisoners 
offered  me  his  place  on  the  board  bed  to  lie  down  and 
have  a  rest,  which  I  needed,  as  this  night  had  been  one 
full  of  events  for  me. 

Too  bad,  I  could  not  record  them  on  the  film  for  an 
American  news  reel. 

Soup  and  Tea 

I  accepted  the  kind  offer,  stretched  myself  out  on  the 
board  bed,  forgot  about  the  "cooties,"  and  had  a  quiet 
sleep  until  lunch-time,  being  awakened  by  my  comrades, 
after  the  soup  pot  was  brought  into  the  cell. 

The  soup  tasted  well.  It  was  a  potato  soup  with  some 
meat,  navigating  inside  the  pot.  Everybody  received  a 
small  aluminium  dish  and  a  spoon.  After  the  soup,  there 
came  the  teapot  again.  At  six  in  the  evening  there  came 
the  same  soup  again  and  after  it  a  wheat  mash.  A  bit 
later,  tea  again  and  the  day  was  over. 

The   day   in   a   well   crowded   prison   cell   passes   fast. 
Everybody  tells  his  story,  some  newcomers  are  brought 
in,  and  there  is  always  something  happening. 
Humanitarian  Act 

So  for  instance:  A  prisoner,  an  engineer,  middle- 
aged  and  looking  sick,  fell  suddenly  unconscious.  The 
prison  doctor  was  called,  who  did  not  believe  his  real 
unconsciousness  and  to  try  him  out,  stuck  a  needle  into 
the  man's  leg.  The  sick  man  did  not  show  any  sign  of 
pain  and  after  quite  a  lengthy  effort,  he  regained  his 
senses. 

This  poor  fellow  told  us  his  sad  story.  He  had  a  young 
wife,  who,  with  some  commissary  of  higher  standing, 
had  a  love  affair.  They  resolved  to  get  the  husband  out 
of  their  way  and  denounced  him  as  a  counter-revolutionist 
this  resulting  in  his  arrest. 

The  same  evening,  about  eight  o'clock,  I  and  several 
others  of  our  cell  were  called  and  were  put  in  a  big  en- 
tirely closed  auto,  called  "The  Black  Raven"  and  were 
transported  to  the  "Butyrka  Prison." 

In  the  Butyrka  Prison 

In  former  times,  this  prison  served  for  manacled 
prisoners,  condemned  to  hard  labor  in  Siberia.  It  was 
built  some  two  hundred  years  ago.  Its  cells  are  heavily 
arched,  floors  asphalted,  windows  double  cross  ironed. 
The  whole  aspect  gives  a  sinister  feeling.  Nevertheless, 
everybody  was  glad  to  change  the  G.  P.  U.  extremely 
crowded  cells  for  the  more  sinister  looking  Butyrka  cells. 

The  reasons  for  such  feeling  are  quite  many.  The 
principal  of  which  are:  The  regime  in  Butyrka  is  far 
not  so  servere  as  in  G.  P.  U.  and  the  atmosphere  of  life 
is  much  better.  The  cells  are  more  spacious,  every 
prisoner  gets  his  individual  bed,  here  he  can  undress  him- 
self during  night  and  sleep  quietly.  Daily  newspapers  can 
be  ordered  through  the  prison  office  against  payment. 
Unofficially  the  prisoners  play  chess,  domino  and  cards 
(all  these  games  are  manufactured  in  the  cell  itself  by 
the  prisoners).  Once  a  week  everyone  is  allowed  to  re- 
ceive foodstuffs  from  his  relatives  or  friends.  This 
privilege  can  be  used  naturally  only  by  those  who  have 
money  and  relatives  in  Moscow.     On  the  first  and  fif- 


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May,  1924 


AMERICAN      CINEMATOGRAPHER 


T<wenty-one 


teenth  of  each  month  the  prisoner  is  allowed  to  write  one 
letter  to  his  relatives  and  to  receive  letters  at  any  time 
from  outside,  but  naturally  only  those,  which  the  prison 
censor  passes. 

After  the  judiciary  inquiry  has  been  entirely  finished 
and  the  prisoner  is  awaiting  trial  or  banishment,  he  is 
allowed  to  meet,  for  a  fifteen  minutes  talk,  one  of  his 
closest  relatives  every  Monday.  Also  every  day,  for  half 
an  hour,  the  prisoners  are  taken  out  in  the  prison  yard 
for  a  walk.  All  these  above  named  privileges  do  not 
exist  in  the  G.  P.  U.  prisons  on  Lubianka,  where  the 
prisoner  is  shut  off  from  the  world  entirely.  The  only 
news  he  gets  is  from  the  newly  arrested  persons  reaching 
his   individual  cell. 

Food  Insufficient 

One  big  drawback  of  the  Butyrka  prison,  is  the  food. 
With  the  Butyrak  prison  food  alone,  a  man  could  hardly 
exist  for  any  length  of  time.  It  consists  regularly,  and 
every  day,  of:  three  times  a  day  just  hot  boiled  water, 
once  a  day  a  watery  soup  without  any  fats  in  it,  once  a 
day  wheat  or  buckwheat  mash,  not  quite  one  pound  of 
black  rye  bread  and  once  a  month  one  pound  of  sugar. 
That  is  all  the  prison  gives  you  to  eat. 

After  being  unloaded  from  the  "Black  Raven"  in  the 
prison  yard  of  Butyrka,  men  and  women  together,  over 
40  in  all,  we  were  brought  into  the  inner  prison,  where 
everybody  was  called  by  name,  a  short  questionairre  filled 
out,  men  separated  from  women  and  brought  to  the  so- 
called  quarantine  building,  in  which,  if  not  released  or 
transferred  to  some  other  prison,  everybody  has  to  stay 
not  less  than  two  weeks. 

The  quarantine  building's  cells  hold  25  people  each. 
They  are  about  12  feet  wide  and  24  feet  long.  In  the 
middle,  stands  a  long  table.  The  cell  has  one  window. 
The  prisoner's  day  is  as  follows :  At  six  in  the  morning 
everybody  gets  up,  the  cell  is  opened  and  the  prisoners 
walk  to  the  lavatory,  where  they  are  not  permitted  to 
remain  more  than  15  minutes.  Bread  and  hot  water  is 
brought  into  the  cell  by  two  prisoners  on  duty  (for  24 
hours),  whose  duty  is  to  bring  the  food  and  water  from 
the  prison  kitchen,  to  clean  the  dishes  and  to  sweep  the 
cell. 

In  Butyrka,  every  prisoner  does  not  get  his  individual 
dish,  but  they  have  to  spoon  out  the  soup  or  the  mash 
from  the  big  common  pot,  brought  into  the  cell.  This  is 
a  most  unpleasant  thing  before  one  finally  gets  used  to  it. 
One  must  not  forget  the  mix-up  of  different  people  in  a 
cell,  quite  many  among  them  being  sick  with  all  kinds 
of  good  and  bad  diseases.  About  at  eleven,  the  whole 
corridor  (five  cells)  goes  for  half  hour's  walk  into  the 
prison  yard.  At  noon  the  soup  and  hot  water.  Again 
15  minutes  lavatory.  At  six  in  the  evening  the  mash  and 
the  hot  water.  At  seven,  15  minutes  lavatory  for  the 
last  time  that  day  and  the  day  is  over. 
Guards  Break  Up  Games 
At  intervals,  the  prisoners  are  killing  time  with  games, 
but  as  soon  the  corridor  guard  outside  notices  it  through 
the  door-hole,  he  rushes  in  and  the  games  are  over.  He 
seizes  the  cards  and  the  figures.  New  ones  are  made 
however,  very  quickly  and  so  it  goes.  The  life  in  a 
prison  cell  is  rich  with  incidents  and  they  help  to  kill 
the  monotony. 

The   "Brood-Hens" 

Sometimes,  the  G.  P.  U.  is  sending  into  a  cell  one  of 

their  own   agents,   under   the  disguise   of   a   prisoner,   to 

listen,  to  watch  and  to  provoke.     But  as  a  rule,  these, 

in  prison  terminology  called  "Brood-Hens,  are  soon  dis- 


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AMERICAN      CINEMATOGRAPHER 


May,  1924 


covered  and  that  is  a  bad  moment  for  them. 
Exterminating  the  Hens 

I  witnessed  one  such  case,  which  nearly  ended  with 
death  to  the  "Brood-Hen."  The  time  for  punishment 
being  set  and  the  role  for  each  assigned,  the  affair  began: 
One  of  the  prisoners  stands  at  the  watch-hole  of  the  door, 
others  are  beginning  to  dance  and  to  make  noise.  Others 
throw  a  blanket  over  the  head  of  the  "hen,"  throw  him 
on  a  bed  and  while  one  group  is  holding  the  victim, 
the  others  beat  his  ribs  so  hard  that  they  are  broken  and 
the  man  becomes  unconscious.  Then  in  this  instance, 
he  was  hanged  to  the  window  bars,  the  doctor  called  and 
the  prisoners  declared  this  man  wanted  to  commit  sui- 
cide. 

He  was  carried  out  on  stretchers  to  the  prison  hospital 
and  the  spectacle  was  over.  The  prison  authorities 
know  very  well  what  is  happening,  but  they  are  practically 
powerless  to  prevent  such  things. 

The  self-discipline  in  a  prison  cell  among  the  prisoners 
is  very  severe.  If  some  one  would  denounce  the  ill-doers, 
he  can  be  sure  that  some  day,  even  if  transferred  to  an- 
other cell,  his  fate  will  be  the  same. 

Guards  Lose  Guns 

The  Butyrka  prison  guards,  inside  the  prison,  are  all 
unarmed.  There  have  been  several  cases,  where  the 
prisoners  have  overcome  the  armed  guards,  one  after 
another,  have  killed  them  and  made  their  escape.  Since 
that  time,  the  prison  guards  are  all  without  arms  and  in 
order  to  save  their  own  skin,  they  close  their  eyes  in 
cases  as  described  above.  Among  the  prisoners  are  men 
awaiting  death  sentence  and  they  have  nothing  more  to 
loose  and  if  some  of  the  G.  P.  U.  man  comes  within  their 
reach  they  do  not  hesitate  to  revenge  themselves. 
Entrance  Easy,  Exit  Difficult 

In  Butyrka  Prison  no  difference  is  made  among  the 
different  types  of  prisoners  or  criminals.  In  the  same 
cell  are  persons  who  never  have  committed  a  crime  in 
their  lives.  At  the  present  time,  Russian  prisons  are  filled 
with  people  who  are  not  criminals  at  all,  judge  from  a 
civilized  country's  viewpoint.  There  are  no  more  than 
ten  per  cent  of  real  criminal  element  among  them.  This 
is  why  the  life  in  the  Russian  prison  nowadays  is  com- 
paratively supportable  and  it  is  not  considered  shameful 
to  be  a  prisoner  there.  Every  one  of  Russia's  inhabitant 
knows  how  easy  it  is  to  be  put  in,  but  they  also  know 
how  difficult  it  is  to  get  out. 

Many  Professions  Represented 

In  the  cell  of  the  quarantine  building  I  soon  made 
friends  with  several  of  the  intelligent  inmates.  One  was 
an  Englisman,  secretary  of  a  British  gold  concessionary  in 
Russia,  the  other  a  twenty-year-old  Danish  Count.  Both 
were  accused  of  espionage.  There  was  also  a  professor 
of  geology  and  a  very  well  known  lawyer.  Our  beds 
were  close  together  and  we  had  a  good  time. 

However,  the  two  first  mentioned,  a  week  later  were 
taken  back  to  the  G.  P.  U.  prison  for  solitary  confine- 
ment, and  a  week  later  I  was  transferred  from  the 
quarantine  building  to  a  cell  in  the  so-called  "Commun" 
building.  This  cell  was  bigger  in  size,  it  held  forty-four 
prisoners  and  was  considerably  dirtier.  Here  the  in- 
habitants were  of  much  lower  class — about  half  of  them 
were  real  criminals. 

The  inner  rules  in  this  cell  were  also  somewhat  dif- 
ferent. Each  cell  had  its  own  bailiff  elected  from  the 
prisoners  of  the  cell.  As  a  rule,  the  elected  is  the  one 
who  has  inhabited  the  cell  the  longest. 

In  the  cell  of  the  quarantine,  we  had  acting  as  bailiff 


a  young  Russian  Prince,  but  in  the  cell  where  I  was  put 
later  a  desperate  criminal  was  bailiff.  Therefore  the 
atmosphere  in  this  cell  was  entirely  different.  The  bailiff 
declared  to  all  newcomers,  that  by  ruling  of  that  cell,  all 
those  who  were  receiving  foodstuffs  from  outside,  were 
invited  to  give  away,  voluntarily,  the  fourth  part  of  it 
for  the  benefit  of  those  who  were  suffering  hunger  in  the 
cell,  i.  e.  for  those,  who  were  not  receiving  any  food 
from  outside.  Otherwise  he  would  not  guarantee  the 
safety  of  food  or  even  clothing. 

Cliques  In  Cells 

This  ruling  would  be  very  just  if  the  fourth  part  of 
the  food  would  be  really  divided  among  all  the  prisoners 
who  did  not  get  any  help  from  outside.  But,  in  reality, 
it  was  divided  only  among  the  criminals,  the  real  bosses 
of  the  cell. 

During  my  three  weeks  stay  in  this  particular  cell,  I 
did  not  have  to  complain.  I  was  treated  nicely  and  noth- 
ing was  stolen  from  me.  One  day  a  belt  was  stolen  from 
a  prisoner.  He  complained  to  the  bailiff,  who  ordered  a 
cell  search.  The  belt  was  found  with  one  of  their  own 
gang,  but  nevertheless,  the  prison  discipiline  had  to  be 
obeyed  and  the  thief  was  beaten  by  his  own  comrades. 

Fights  in  the  cell  were  quite  frequent  and  some  of 
them  bloody.  When  the  fighters  go  too  far,  their  com- 
rades separate  them. 

An   Odd  Quartette 

To  kill  time,  I  played  cards  with  some  of  the  inmates. 
My  most  frequent  partners  were  a  former  army  officer, 
one  swindler  of  note,  and  one  celebrity  in  safe-blowing. 
Adding  here  my  profession  as  cinematographer,  the 
quartette  of  these  four  professions  at  a  card  game  was 
quite  bloomy!  !  ! 

Always  Asking   Questions 

From  time  to  time,  early  in  the  morning,  with  others, 
I  was  called  out,  put  in  the  big  Black  Raven  and  trans- 
ported to  G.  P.  U.  on  Lubianka  for  further  judiciary  in- 
quiries. On  these  occasions,  I  always  had  a  hard  time  to 
control  my  nerves.  These  were  always  the  most  un- 
pleasant days.  However,  it  had  to  be  done,  as  on  the 
result  of  the  inquiries  my  further  fate  depended.  I  knew 
that  my  least  emotion  in  the  face  of  the  inquirers  would 
be  translated  by  them  as  a  sign  of  weakness  and  they  use 
it  cleverly  to  terrorize  the  prisoner  more  and  more  to 
their  own  satisfaction. 

Cross  Examinations  A  Pastime 

To  my  credit,  I  must  say,  I  maintained  such  self 
control  and  cold-bloodness  at  all  times  that  my  inquirers 
seemed  puzzled.  Once  I  was  cross-examined  by  three  in- 
quirers from  eleven  o'clock  in  the  morning  until  eight  in 
the  evening,  without  an  interval. 

Filmed  For  Reds  Previously 

At  that  time  they  charged  me  with  a  new  crime,  for 
having  deserted  the  Red  Army  in  1919.  I  must  say,  that 
-I  never  have  served  in  the  Red  Army.  It  is  true,  that, 
from  1918  to  1919  I  was  cinematographing  military  pic- 
tures for  the  War  Dept.,  but  against  salary  and  not  as  a 
conscript  in  military  service. 

No   Court   Trial 

After  that  inquiry  was  over,  they  read  me  paragraph 
205  of  the  Soviet  Criminal  Code,  which,  on  conviction, 
carries  the  death  sentence.  I  had  to  sign  a  paper  to  this 
effect  and  the  inquiry  was  over.  There  was  nothing 
more  left  but  to  wait  for  further  developments.  In  other 
countries,  in  cases  like  mine,  the  prisoner  is  sure  to  get 
a  regular  trial  in  a  court,  but  in  Soviet  Russia  is  dif- 
ferent. 


May,  1921 


AMERICAN      CINEMATOCRAPHER 


Twenty-tin >rr 


Arbitrary  "Justice" 

Most  cases  over  there  are  treated  by  the  G.  P.  U.  in 
an  administrative  way  without  any  court  proceedings 
whatsoever  and  without  presence  of  the  accused.  The 
result  of  the  G.  P.  U.  decision  is  simply  announced  to 
the  prisoner  by  a  short  writ  in  his  prison  cell  and  that 
is  all.  Every  prisoner  is  anxious  to  get  a  court  trial,  but 
he  seldom  gets  it. 

Cattle  Car  Conditions 

After  that  inquiry  was  over,  I  was  placed,  as  usual, 
in  the  celebrated  G.  P.  U.  cell,  called  "Sobatchnik," 
which  in  Russian  means  "Dog-Cell."  This  is  a  very 
small  cell,  about  20  feet  square.  Half  of  it  is  occupied 
by  a  common  board-bed,  so  that  there  is  a  walking  space 
left  not  over  than  ten  by  20  feet.  In  this  room,  there  are 
some  times  packed  in  as  many  as  60  persons.  This  sounds 
incredible  but  it  is  true. 

Luckily  enough  for  me,  I  had  never  to  stay  over- 
night in  one,  but  there  are  some,  who  have  spent  nearly 
three  weeks  in  one.  From  this  cell,  the  prisoners  are 
called  out  to  the  inquirers  and  when  the  inquiry  is  over, 
they  are  put  back  there  again,  until,  at  evening,  about  at 
eight  o'clock,  the  "Black  Raven"  takes  them  back  to  the 
Butyrka  Prison.  Walking  out  of  this  "Dog-Cell"  into 
the  "Black  Raven"  to  be  transported  to  the  Butyrka 
Prison,  makes  everybody  feel  happy.  It's  like  going 
home! 

In  the  forenoon  of  March  third  the  cell  door  opened, 
my  name  was  called  and  I  was  ordered  to  walk  out 
with  my  personal  belongings.  Such  an  order  means 
liberty,  banishment  or  long  solitary  confinement  in  the 
so-called  "Inner  Prison  of  G.  P.  U."  While  I  was 
gathering  my  belongings,  my  cell  comrades  were  discuss- 
ing, what  fate  awaited  me.  Opinions  varied.  Some 
maintained  that  I  would  be  let  free;  others  said  the  con- 
trary. 

Real  Life  Drama 

Following  the  custom  of  the  prison,  when  the  opin- 
ion prevails  that  the  called-out  man  is  going  to  be  set 
free,  I  had  to  leave,  for  the  benefit  of  the  remaining 
ones,  all  foodstuffs,  tobacco  and  cigarettes.  Everybody 
heartily  shook  hands  with  me,  and  with  couple  of  good 
friends  we  kissed  each  other  amid  applause,  a  custom 
also.  Out  I  went.  This  was  the  only  time  I  experienced 
real  emotion.  After  all,  they  were  all  good  boys  and 
very  unhappy.  I  pited  them  with  all  my  heart.  I  was 
sorry  they  were  not  walking  out  with  me.  I  had  lived 
among  them  for  three  weeks.  We  had  all  something  in 
common  and  we  all  were  equal.  Really,  prison  is  the 
only  place  on  earth  where  communism  does  exist — exist 
without  compulsion. 

In  the  prison  corridor  I  was  very  carefully  searched 
so  that  no  letter  or  note  of  any  kind  should  be  carried 
out  for  delivery  to  some  relative  or  friend  of  the  remain- 
ing prisoners.  Then  I  was  taken  to  the  prison  office. 
There  stood  a  man  waiting  for  me.  He  looked  like  a 
commissary.  He  ordered  me  to  follow  him  and  reaching 
the  prison  yard,  ordered  me  to  take  seat  in  the  waiting 
passenger  auto. 

We  drove  out  of  the  prison,  the  auto  took  the  di- 
rection towards  the  street  where  my  mother-in-law  lives 
and  I  thought  "I  am  going  home."  The  man  at  my  side 
did  not  speak  a  word  and  I  knew  that  there  was  no  use 
asking  him  questions — he  would  not  answer  them ;  that 
is  their  rule. 


Seldom  available,  A.  S.  C. 
members  are  always  in  de- 
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A.  S.  C.  members  can  al- 
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headquarters  of  AMERICAN 
Society  of  Cinematograph- 
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Avenue,  temporary  address 
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AMERICAN      CINEMATO  CRAP  HER 


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Direction  Changed 

The  auto  made  a  sudden  turn  and  from  that  moment 
I  knew,  I  was  not  going  to  the  apartment  of  my  mother- 
in-law  but  to  the  G.  P.  U.  prison  again.  I  was  right. 
Arriving  there,  I  was  brought  immediately  into  the  "Dog- 
Cell."  I  thought  I  would  be  left  there  until  they  picked 
out  a  "good"  solitary  cell  for  me  in  the  "Inner  Prison." 

"Deported" 

About  an  hour  later  I  was  called  into  the  com- 
mandant's room.  He  produced  a  paper  for  me  to  sign, 
on  which  was  written : — "By  decision  of  the  Collegium 
of  G.  P.  U.  of  February  22nd,  John  DORED,  is  to  be 
deported  from  Soviet  Russia  under  escort  to  the  border- 
line." 

I  was  glad  to  learn  this  news  and  signed  the  writ.  At 
the  commandant's  office  I  was  permitted  to  see  my 
mother-in-law  for  a  ten  minutes  talk  and  to  bid  her  good- 
bye. _       4 

After  this  was  over,  I  was  brought  back  to  the  "Dog- 
Cell,"  where  I  stayed  until  a  few  minutes  before  the  even- 
ing train  left  for  Reiga. 

Cameras  Returned 

I  was  taken  to  the  station  with  all  my  stuff  on  an  auto 
truck.  As  escort  to  the  Latvian  border  I  had  with  me, 
in  a  compartment  of  passenger  train,  one  commissary 
and   two  soldiers.      All   the  way,   they  were  very   polite 


my 


and  obliging.     On  the  border,  I  was     given     back 
cameras,  accessories,  my  passport  and  I  was  free! 

Giving  Devil  His  Dues 

To  sum  up  the  story,  I  want  to  say,  that,  really,  I 
can  not  blame  the  Soviets  much  for  their  action  against 
me,  because,  I,  in  their  eyes,  was  a  dangerous  competitor 
to  them  for  foreign  market  for  the  Lenin  funeral  picture. 
They  thought,  that  in  case  I  managed  in  some  way,  to 
forward  to  America  my  funeral  picture  ahead  of  theirs, 
that  their  own  picture  would  not  be  worth  a  cent  in  the 
States  afterwards.  Therefore,  to  kill  competition,  the 
"Goskino"  had  resolved  and  issued  orders  to  arrest  and 
to  keep  me  locked  up  until  they  had  sold  the  monopoly 
rights  for  that  picture  themselves.  I  do  not  know, 
whether  they  have  succeeded  in  their  aim  or  not,  but  they 
were  certainly  wrong  in  their  expectation  of  $250,000 
for  the  American  rights  alone. 

Cause  For  Anger 

If  some  other  foreign  cinematographer  would  have 
been  in  my  place  and  put  in  the  prison  without  any 
visible  reason  as  they  did  with  me — I  can  vividly  imagine 
his  revolt!  But  for  me,  as  a  man  knowing  Russia  and  the 
Russian  customs,  this  episode  of  mine  is  simply  a  natural 
thing. 

The   Bulldog   Spirit 

If  a  new  occasion  will  present  itself  again  to  make  a 


May,  1924 


AMERICAN      CINEMATOGRAPHER 


Twenty-five 


trip  into  Russia  after  some  worth  while  stuff  and  the 
Soviets  would  give  me  a  vise — I  would  not  hesitate  a 
minute  and  would  go.  Russia  was,  is,  and  always  will  be 
an  unusual  country  in  every  phase  of  its  life. 

Reaching  Riga,  after  nearly  six  weeks  of  imprisonment, 
I  learned,  that  the  Latvian  Government  and  the  Ameri- 
can firm,  which  I  represented  in  Moscow,  had  made  very 
energetic  steps  before  the  Soviets  in  my  behalf.  This  and 
some  other  circumstances,  were  probably  the  main  reasons 
why  I  was  put  to  liberty  so  quickly. 

Now,  after  this  episode  is  told,  I  want  to  take  the 
reader  back  to  the  first  page  of  this  story  and  ask:  "Do 
you  not  find  big  similarity  between  the  duties  of  a  soldier 
and  a  "News-cinematographer"  ? 


A.   S.  C.   ELECT  NEW  OFFICERS 

(Continued  from  page  6) 

M ilner's  Career  Varied 

Victor  Milner,  who  comes  to  the  A.  S.  C.  secretary- 
ship, is  likewise  a  veteran  in  his  calling.  He  began  at  the 
bottom  of  the  ladder  as  a  theatre  projectionist,  then  went 
to  work  in  the  laboratory  and  shop  of  the  famous 
Eberhard  Schneider  in  New  York  City  and  later  became 
one  of  the  original  news  cinematographers  for  Pathe. 
He  filmed  "Hiawatha,"  one  of  the  first  features,  made 
a  trip  around  the  world  as  well  as  to  the  interior  of  the 
Congo  and  to  Europe  several  times. 

Milner's  dramatic  productions  have  included  six  fea- 
tures for  Balboa;  J.  D.  Hampton's  "Fugitive  from  Mat- 
rimony," "Haunted  Shadows,"  "The  White  Dove,"  "The 
Double  Standard,"  "Uncharted  Channels,"  and  "Behind 
Red  Curtains;"  J.  P.  McCarthy's  "Out  of  the  Dust;" 
H.  B.  Warner  in  "One  Hour  Before  Dawn,"  "When 
We  Were  Twenty-One"  and  "Felix  O'Day;"  Jesse  D. 
Hampton's  "Half  a  Chance,"  "Her  Unwilling  Husband" 
with  Blanche  Sweet,  and  H.  B.  Warner  in  "Dice  of 
Destiny;"  J.  P.  McCarthy's  "Shadows  of  Conscience" 
and  numerous  Universal  productions  including  King 
Baggott's  "Human  Hearts." 

With  Niblo 

Milner  left  Universal  to  become  associate  cinemato- 
grapher  with  John  F.  Seitz,  A.  S.  C,  on  Rex  Ingram's 
production  of  "Scaramouche."    The  secretary  then  joined 


Fred  Niblo  as  chief  cinematographer  on  Niblo  productions 
for  Louis  B.  Mayer  and  Metro,  and  in  that  capacity 
filmed  Niblo's  success,  "Thy  Name  is  Woman"  and  at 
present,  is  photographing  "The  Red  Lily." 

Van  Enger  an  Ace 

Charles  J.  Van  Enger,  who  is  to  be  the  A.  S.  C.  fi- 
nancial wizard  for  the  coming  year,  is  an  outstanding 
ace  of  the  cinematographic  world.  In  the  old  days,  be- 
sides being  a  cinematographer,  he  was  assistant  superin- 
tendent of  the  American  Laboratory  in  New  York  and 
superintendent  of  the  Paragon  Laboratory  at  Fort  Lee, 
New  Jersey. 

Van  Enger  has  filmed  some  of  the  screen's  greatest 
players,  including  two  of  Nazimova's  starring  vehicles, 
"The  Doll's  House"  and  "Salome."  Among  his  other 
productions  of  the  past  several  seasons  are  the  following 
directed  by  Maurice  Tourneur — "County  Fair"  with 
Rene  Guissart,  A.  S.  C,  "The  Great  Redeemer,"  "Last 
of  the  Mohicans,"  and  "Foolish  Matrons."  For  Max 
Linder  he  filmed  "Seven  Years  Bad  Luck"  and  "Be  My 
Wife."  With  H.  Lyman  Broening,  A.  S.  C,  he  photo- 
graphed R.  A.  Walsh's  production  of  "Kindred  of  the 
Dust." 

With  Lubitsch 

Before  beginning  his  present  position  with  Warner 
Brothers,  with  whom  he  has  filmed  Lubitsch's  "The 
Marriage  Circle"  and  Monta  Bell's  "Broadway  After 
Dark,"  Van  Enger  was  with  Goldwyn  for  whom  he 
photographed  such  productions  as  "The  Christian"  and 
the  like. 

Coming  Year  Promising 

The  coming  year  promises  to  be  one  of  the  brightest 
in  the  brilliant  history  of  the  American  Society  of  Cine- 
matographers. A.  S.  C.  activities  are  of  a  more  com- 
manding aspect  than  ever  before  and  with  the  Society's 
new  headquarters  to  be  occupied  in  the  Guaranty  Build- 
ing, now  under  construction  in  Hollywood,  before  the 
dawn  of  1925,  a  magnificently  tangible  milestone  will 
have  come  into  being  to  testify  to  the  fact  that  the  "pro- 
gress" portion  of  the  A.  S.  C.  motto — "Loyalty,  Pro- 
gress, Art" — has  never  been  lost  sight  of. 

The  new  headquarters,  according  to  plans  which  are 
being  worked  out,  will  be  one  of  the  most  impressive 
features  of  the  new  Guaranty  Building,  itself  a  master- 
piece in  architecture,  situated  as  it  is  at  Hollywood 
Boulevard  and  Ivar — the  vertiable  heart  of  Hollywood, 
the  film  capital  of  the  world. 


Because  of  their  location  for  several  years  at  6372  Hollywood  Boulevard, 
the  American  Society  of  Cinematographers  are  still  receiving  communica- 
tions directed  to  the  latter  address. 

Attention  is  called  to  the  fact  that,  until  completion  of  A.  S.  C.  offices  in 
the  new  Guaranty  Building,  the  Society's  temporary  headquarters  are  at  1103 
North  El  Centro  Avenue,  Hollywood. 


Twenty-six 


AMERICAN      CINEMA  TOGRAPHER 


Andre  Barlatier,  A.  S.  C,  is  shooting  a  Gorman  pro- 
duction at  Goldwyn  Studios,  Culver  City. 

*  *     * 

Ernest  Haller,  A.  S.  C,  is  filming  "Puppy  Love"  at 

the  F.  B.  O.  studios. 

*  *     * 

David  Abel,  A.  S.  C,  is  photographing  "Babbitt"  for 
Warner  Brothers.     Harry  Beaumont  is  directing. 

$fc  0  5^ 

Victor  Milner,  A.  S.  C,  is  filming  "The  Red  Lily." 
a   Fred   Niblo  production. 

*  *     •* 

Faxon  Dean,  A.  S.  C  lias  finished  shooting  "The 
Guilty   One,"    a    Paramount    production     which     Joseph 

Henabery  directed. 

*  *     * 

Alois  Heimerl,  A.  S.  C,  is  filming  an  Al  Davis  pro- 
duction, Al  Davis  directing. 

*  *     * 

John  W.  Boyle,  A.  S.  C,  writes  from  Berlin,  under 
date  of  March  19th,  that  "this  is  'some  town'  ",  and  from 
Palermo,  Sicily,  under  date  of  April  1st:  "en  route  to 
Biskra    and    other   African     ports.       Having     California 

weather  here." 

*  *     * 

Georges  Benoit,  A.  S.  C,  states  that  he  recently  had 
one  of  the  "scares  of  his  life"  when  a  high  wind  knocked 
a  reflector  against  his  Mitchell,  so  that  it  rolled  35  feet 
down  a  bluff.     However,  no  harm  Avas  done. 

H.  Lyman  Broening,  A.  S.  C,  has  begun  work  on 
"Being  Respectable,"  a  Warner  Brothers  production  di- 
rected by  Phil  Rosen.  The  cast  includes  Marie  Prevost, 
Irene  Rich,  Louise  Fazenda,  Monte  Blue,  Theodore  Von 
Eltz  and  Sidney  Bracy. 

*  *     * 

Max  Du  Pont,  A.  S.  C,  has  arrived  in  Tahiti  where, 
he  says,  the  sunsets  are  so  beautiful  that  the  cinemato- 
grapher  can  hardly  resist  the  temptation  to  set  up  and 
shoot  the  setting  of  the  sun  every  day  in  the  week. 

*  *     # 

Gilbert  Warrenton,  A.  S.  C,  is  shooting  his  first  pro- 
duction with  his  new  Mitchell — "We  Are  French,"  di- 
rected by  Rupert  Julian  at  Universal  City. 

*  *     * 

Hcrford  Tynes  Cowling,  A.  S.  C,  according  to  the 
last  word  received  from  him,  is  "still  grinding  through" 
India  on  his  present  trip  around  the  world. 

*  *     * 

Joseph  Dubray,  A.  S.  C,  is  back  in  his  cinematographic 
harness  once  more  and  is  prepared  to  shoot  a  big  pro- 
duction. 


Frank  B.  Good,  A.  S.  C,  is  back  in  Los  Angeles  from 
San  Francisco,  completing  the  camera  work  on  "Little 
Robinson  Crusoe,"  the  latest  Jackie  Coogan  production. 

*     *     * 

Arthur  Edeson,  A.  S.  C,  is  photographing  Jack  Pick- 
ford's  "The  End  of  the  World." 

$fc         Sjf-         % 

Tony  Gaudio,  A.  S.  C,  through  the  courtesy  of  Joseph 
M.  Schenck,  is  filming  the  latest  John  M.  Stahl  pro- 
duction at  the  Louis  B.  Mayer  studios. 


Steve  Norton,  A.  S.  C,  presided  over  an  auxiliary 
camera  on  a  big  scene  in  the  Stahl  production  which 
Tony  Gaudio,  A.  S.  C,  is  filming. 


Walter  Griffin,  A.   S.   C,   is  shooting  a  current   Fox 

production. 

*     *     * 

Rene  Guissart,  A.  S.  C,  has  become  the  owner  of  a 
valuable  set  of  puppies  which  arrived  to  one  of  the  pair 
of  police  dogs  which  he  brought  to  Hollywood  with  him 
on  his  return  from  his  last  trip  to  Europe. 


Robert  Newhard,  A.  S.  C,  is  busy  photographing  Nell 
Shipman  productions.  Bobby  is  still  being  praised  for 
the  superiority  of  his  work  in  "The  Hunchback  of  Notre 
Dame"  which  was  directed  by  Wallace  Worsley. 

Jackson  J.  Rose,  A.  S.  C,  is  busier  than  ever  filming 

Universal  productions. 

*  *     * 

Steve  Smith,  A.  S.  C,  is  shooting  his  latest  Vitagraph 

production. 

*  *     * 

Joseph  Brotherton,  A.  S.  C,  is  filming  a  current  Fox 

feature. 

*  *     * 

Dan  Clark,  A.  S.  C,  is  adding  cinematographic  splen- 
dor to  the  latest  Tom  Mix  feature  for  Fox. 


Cinematographers  and  photographers  will  find  a  boon 
in  the  announcement  of  a  Los  Angeles  institution,  the 
Marshutz  Optical  Company,  that  the  reflection  from 
toric  or  multi-curved  surfaces  or  the  wearing  of  Crookes 
tinted  lenses  is  being  overcome  by  the  supplying  of  frames 
without  lenses  or,  by  duplicating  the  original  glasses  worn 
with  temporary  clear  flat  lenses,  an  exact  imitation  of 
those  worn  by  the  individual. 

The  remedy  is  effected  either  by  the  glasses  being  sent 
to  the  optometrist  or  by  a  personal  sitting  by  the  cinema- 
tographer. 


HOW  TO  LOCATE  MEMBERS  OF  THE 

American 
Society  of  Ginematograpliers 

Phone  HOlly  44o4 
OFFICERS 


(  i  VETANO    GAUDIO 

(iii  bert  w  vrrenton 
Karl  Brown 
Homer  A.  Scot] 
Charles  J.  V  \\   Enger 
Victor   Milner 


President 
I  ice-President 
I  ice-Presideni 


I 


ice-President 
Treasurer 
Secretary 


BOARD  OF  GOVERNORS 


Victor  Milner 

Philip  H.  Whitman 
James  C.  Van  Trees 
Frank  B.  Good 
H.  Lyman  Broening 


Homer  A.  Scott 
Fred  Jackman 
Charles  J.  Van  Enger 
Gaetano  Gaudio 

Gilbert  Warrenton 


King  D.  Gray 
Reginald  Lyons 
Paul  P.  Pern 
John   F.  Seitz 
Karl   Brown 


\bcl.  David      h  ith  \\  irnei  Brotl  ers 

\ Id,   John — with    Viola    Dana. 

Barlatier,      \n.ln      with     Gorman,     Goldwyn     Studio. 

Barnes,  George  S.     with  Co  mopolitan,  New  York  City. 

Bet  kway,    Wm. — 

Benoil ,    ( lei  irge 

Broening,     il.    Lyman — with    Phil    Rosen,    Warner    Brothers. 

Boyle,    John     W.     Chief    cinematographer,       "Ben       Hur,"       Goldwyn; 

Charles    Brabin,    director;     "Cines,"    Rome,    Italy. 
Brodin,  No  berl  1        Frank  Lloyd  Productions,  First  National,  I  nited 

St  udii  i 
Brot  hei  ton,    fo  eph     -vi  it  h    Fox    Studio. 

Brown,    K.irl  —with     lame-    Cruze,    Fa is-Players    Lasky. 

Cann,    Ben      in    Europe. 

link.    Dan     with    Tom    Mix,    Fox    Studio. 

Carby,    Francis     -with    Hamilton-White,    Fine    Arts    Studio 

Cowling,    Herford   T. — Tr.i\el    Pictures,    Asia. 

Cronjager,    Henry     with    Famous-Players    La  ky,    Ne 

I  ><  m,    Faxon   M. — - 

Doran,    Robert    S.— with    Hal    Roach    Studio. 

I  I  >red,  John—  Riga,  Lat\  ia. 

!  lubray,  [o  eph  A. — 

Itul'.ir.    E.    B. — with    Warner    Brothers 

1  'ill*. i n t _    Max    H.  -Tahiti. 

Arthur  —with    I  )ouglas    Fairbank 
I  Perry — 

Fildew,    Wm. — with    Harrj    Pollard,    I  niversal    Studio. 
Fisher,    Km—   (,.  —with    A.  J.    Brown    Productions,   Russell   Studio 
Gaudio,  Gaetano — »  ith  Norma  Talmadge,  [oseph  Schenck  Product ioi 

United   Studio. 
Gilks,     Mired— 

non,    Ben      with    Cecil    B.    De    Mille,    Famous  Players    Lasky. 

I,    Frank    B.      with    [ackie   Coogan,   Metro  Studio 

Granville     Fred     L.     directing,       British       Internati 

Li  mdi  hi 
rt  '  j     K.ing   D. — 
n,    Waller    L 
irt,    Rene — 
I  Sailer,    Ernest — 
Heimerl,   Alois   G  — 

I  m  km  in     Floyd — with    Fred   Jackman,   Hal    Ro-ch   Stud 
fackman,    Fred    W       directing,    Hal    Roach    Studio, 
Koenelcamp,    Man-    F.  -unh    Larry   Semon. 
knll.   Edward  — h  ith   1  nivers  il   St  udio. 


York   City. 


Fairbank-  Pickford    Studio. 


il       i  orporal 


-with    Fox    Studio. 


1  nited    Studio. 
Productions,    I  lolly u I    s 


Kurrle.    Robert — 

Landers,    Sam — with    Fii-t    National 

1 .01  k  h  ood,     1.    R. — 

Lundin,    \\ 'alter— k  ith   Harold    Lloyi 

Lyons,    Reginald    E. — 

Mn  Lean,    Kenneth    G. — with    Fox    Studio 

Marshall,    Wm.— 

Meehan,    George  -with    Jack    White    Corporation,    Fine     \n      Stu 

Milner,    Victor — with    Fred    Niblo,    Chine's    Studio. 

Morgan,  Ira  1 1. — with  Marion  Davies,  ( 'os politan,  New  York  C 

Newhard,    Robert    S. — with    Nell    Shipman    Producl (  oolin 

Norton,    Stephen    S. — with    [nee    Studio 
Ivei  b  lugh,    Roy    F. — New    York   Ciiy. 
Palmer,    Ernest    S. — 
LePii  ad.  Marcel— New    York  City. 
Perry,    Harry — with   Torn    Forman. 
Perry,    Paul    P.— 
Polito,    Sol — 
Ries,    Park    J.— 
Rizard,    Georgi 

Rose,     fackson    [. — with    King    Baggott 
Rosher,    Charles — with    Man     Pi. kfi.nl 


tudii 


dio. 


ty. 


i.i 


1  in wi  al    I  in 

I'ii  kloid  Fairbanks    Si udii 


M si  opii     I' res      P 


Schneiderman,    Georg( — with    Fox    Studio. 

Scott,    Homer    A. — 

Seitz     lohii   F.  -witli    Rex   Ingram. 

sli  in      I  li  in  v     -with   Thomas    II.    Ince. 

Sin  irt.    1  '■  'ti 

■mii  ill     Steve,    Jr. — with    Vitagraph    Stud 

Steene,    E.    Burton — New    York    City. 

Stumar,    John — with    Universal    Studio. 

Stumir.    Charles — with    Universal    Studio 

rhorpe,    Harry — 

Tolhurst,     Louis    II.  —  "Secret-    of    Life." 

pal    Pictures    Corporation. 
Totheroh,   Rollie   H. — with   Charlie   Chaplin.   Chaplin    Studio. 
Van    Biiren.    N'eil---New     York    City, 

Van  Enger,  Charle — with  Ernst  Lubitsch,  Warnei  Brothers. 
Van     I  ree  .     lame.    C. — with     [ohn    Francis       Dillon,      Fjrsl 

I    nited    Studios. 

Walters,    R.    W. — with    Mack     Sennetl       Production 

St  udio. 

Warrenton,    Gilbert — with    Rupert    Julian.    Universal    Citj 
Whitman,    Philip    H. — with    Cosmopolitan,    New     York    City 
Wilky,  I  .  Guj     -with  William  de   Mille,  I   imous  Players  Lasky. 


Mack 


S.ll  loll.ll 

Sennet  r 


Id    on,    Thomas    A.      Honorarj     Member. 
Paiey,    W  illiam    "Daddy"  -Honorary    Member 
Webb,    Arthui    C.      Vttorney. 


Meetings    ol    the     \merii  in    Societ)    -.1    Cinematographers    are    held    ever)    Monday   evening.    On    the   first    and   ihe   third   Mondaj    of   each    month 
the   open    meeting    is    held;    and    on    the    second    and    the   fourth,   the    meeting   ■>!    the    Board    ol    Governors. 


LOYALTY 


PROGRESS 


ART 


■  *^W^UP*?''!* 


fell 


'ojsepj 


Lu»  A, 

March 
£5tii 


Sin •— N 

yours 

41  ^4;^ 


No.  3 
Vcl.   V 


June,  1924 


25  cents 
A  Copy 


American 


Cinematographer 

Published  by  the  American  Society  of  Cinematoyraphers,  Inc. 


In  This  Issue 

Shooting  Sheik-Stuff  on  the  Sahara  Desert 
By  Robert  Kurrle,  A.  S.  C. 

Drama  Treatment  Enters  Comedy  Photography 
By  Walter  Lundin,  A*  S.  C. 

Klieg  Eyes  Forever? 

By  Herbert  Stanton  Marshutz 

Solving  the  Stills  Problem 

By  Gene  Kornman 


PUBLISHED  IN      HOLLYWOOD     CALIFORNIA 


RELEASES 

April  17,  1924  to  May  23,  1924 

TITLE 

PHOTOGRAPHED  BY 

A  Girl  of  the  Limberlost 

Henry  Sharp,  member  A.  S.  C. 
and  Howard  Anderson 

The    Rejected    Woman 

Roy  Hunt 

Torment 

Arthur   Todd 

The    Circus    Cowboy 

Joseph  Brotherton,   member  A.   S.   C. 

The  Moral  Sinner 

William   Miller 

Forty    Horse    Hawkins 

Virgil   Miller 

What  Three  Men  Wanted 

Not   Credited 

Triumph 

Bert  Glennon,  member  A.  S.  C. 

The   Galloping   Fish 

Max  DuPont,  member  A.  S.  C. 

Listen,   Lester 

John  Stumar,  member  A.  S.  C. 

$20.    a   Week 

Harry  Fischbeck 

Riders  Up 

Ben  Reynolds 

The  Martyr  Sex 

Roland    Price 

Chastity 

Joseph  Brotherton,   member  A.  S.  C. 

Bluff 

Alfred  Gilks,  member  A.  S.  C. 

Flapper   Wives 

King  Gray,  member  A.  S.  C 

Ridgeway  of  Montana 

Harry   Neuman 

Pagan    Passions 

Joseph  Brotherton,  member  A.  S.  C. 

Pal  O'  Mine 

Not   Credited 

The   Lone   Wolf 

Jack    Brown 

Sherlock,  Jr. 

Byron  Houck  and  Elgin  Lessley 

The    Dangerous   Blonde 

Jackson  J.  Rose,  member  A.  S.  C. 

The  Goldfish 

Ray    Binger 

Mile.    Midnight 

Oliver  Marsh 

Vol.   5 


JUNE,  1924 


No.  3 


American 
Cinematographer 


Foster  Goss,  Editor  and  Business  Manager 
Board  of  Editors — Victor  Milner,  H.  Lyman  Broening,    Karl    Brown,    Philip    H.    Whitman 
Alfred  B.  Hitchins,  Ph.  D.,  F.  R.  P.  S.,  F.  R.  M.  S.,  F.  C.  S.,  Associate  Editor  and  Neiu  York 
Representative,  33  West  60th  Street,  Room  602,  New  York  City 


Contents 


Page 

Solving  the  Stills  Problem — By  Gene  Komman        .        .  4 
Shooting  Sheik-Stuff  on  the  Sahara  Desert — 

By  Robert  Kurrle,  A.  S.  C 5 

KLIEG  EYES  FOREVER? — By  Herbert  Stanton  Marshutz         .  7 

Work  Progresses  on  Building  for  A.  S.  C.  Offices        .  8 

Drama  Treatment  Enters  Comedy  Photography — 

By  Walter  Lundin,  A.  S.  C 9 

Co-operation  of  the  Technical  Department         .        .  11 

The  Editors'  Lens 12 

Heat  Protection  of  Motion  Picture  Film — 

By  E.  D.  Tillyer 15 

Sprockets  and  Splices — By  Earl  J.  Denison        ...  16 

Filming  a  Ghost  City 20 

In  Camerafornia 26 


An  educational  and  instructive  publication,  espousing  progress   and   art   in   motion   picture   photography. 

Published  monthly  by  THE  AMERICAN   SOCIETY    OF    CINEMATOGRAPHERS,    Inc. 
Subscription  terms:  United  States,  $3.00  a  year;  Canada,  $3.50  a  year;  foreign,  $4.00  a  year;  single  copies 

25  cents.     Advertising  rates  on  application. 
Hollywood,  California  Telephone  Hollywood  4404 

(Copyright,  1924,  by  The  American  Society  of  Cinematographers,  Inc.) 


^ 


Four 


AMERICAN      CINEMATOGRAPHER 


June,  1924 


Solving  the 
Stills  Problem 


By  Gene  Korman 


Staff  Still  Photographer 
Is  Solution.      Responsibility 
of  Cinematographer  Relieved. 


In  the  March  issue  of  the  American  Cinematographer, 
the  writer  had  the  pleasure  to  read,  under  the  head  of 
"Urge  Need  for  Good  Publicity  Stills,"  an  enlightening 
article  on  what  was  described  as  the  present-day  status 
of  still  photography.  He  had  previously  read  Florence 
Lawrence's  article  in  the  Los  Angeles  Examiner  that 
furnished  the  subject  on  the  still  discussion  in  this  publi- 
cation. \ 
Must  Be  Fixed 

To  one  who  has  gained  knowledge  through  extended 
experience  in  matters  of  stills  in  motion  picture  studios, 
the  fact  is  quite  evident,  as  was  pointed  out  in  the  March 
issue,  that  the  only  way  to  obtain  effective  stills  is  to  fix 
responsibility  for  them  in  some  one  definite  quarter. 
One  Department 

The  foregoing  may  seem  rather  elementary  and  not 
worthy  of  serious  consideration,  especially  as  to  the  fix- 
ing of  responsibility.  Anybody,  it  might  be  said,  who  is 
capable  of  making  a  still  may  be  held  responsible  for  it. 
True  enough,  but  stipulate  the  premise  that  capability  to 
make  a  still  is  a  condition  precedent  to  responsibility 
therefor,  yet  there  is  only  one  sure  method  of  actually 
pinning  down  the  responsibility  for  good  or  bad  stills — 
and  that  is  to  have  one  department,  or,  more  practically, 
one  person  and  one  person  alone  answerable  for  the 
stills   and   the  stills   alone. 

Again,  we  may  repeat,  the  foregoing  may  appear  to 
be  too  elementary  to  be  worthy  of  serious  consideration. 
But  elementary  things,  like  great  inventions,  very  often 
go  along  obscured  in  their  own  simplicity  before  their 
basic  truth  is  eventually  recognized. 

Has  Enough  Duties 

When  we  say  to  make  some  one  responsible  for  stills 
and  stills  alone  in  the  filming  of  a  production,  we  do 
not  mean  that  this  phase  of  picture  making  should  be  un- 
loaded on  the  cinematographer  as  has  been  a  more  or 
less  general  practice.  The  cinematographer  has  a  big 
enough  job  of  his  own  to  attend  to  the  motion  photo- 
graphy of  the  picture  in  question  without  making  his 
burden  excessive  in  assigning  the  making  of  stills  to  him. 
Cinematographer  Needs   Time 

When  he  is  through  with  the  actual  shooting  of  one 
scene,  he  should  be  left  free  to  make  the  very  necessary 
arrangements  for  the  filming  of  the  next  scene — he  should 
be  given  ample  time  to  set  up  in  the  proper  angles  and  to 
arrange  his  lights  without  being  rushed.  But  he  cannot 
do  this,  if  he  must,  between  the  end  of  one  scene  and  the 
beginning  of  another,  "sandwich"  in  the  shooting  of  the 
stills  that  are  to  be  broadcast  throughout  the  world  to 
exploit  and  publicize  the  production  on  which  he  is  work- 
ing. 

Cannot  Serve  Two  Masters 

Certainly  such  a  program  is  not  conducive  to  superior 
cinematography.  The  cinematographer,  who  is  not  given 
sufficient  time  to  properly  arrange  his  lights  and  to  do 
properly  the  little  things  that  he  would  like  to  do  before 
actually  shooting,  cannot  be  expected  to  turn  out  a  grade 
of  photography  at  which  the  critics  will  marvel.  In 
short,  if  the  cinematographer  must  be  bothered  with 
stills,  his  cinematography  must  suffer  accordingly.    And 


when  the  cinematography  suffers,  every  one  in  the  cast 
suffers;  nor  does  the  evil  end  with  the  cast — it  extends 
quite  naturally,  if  imperceptibly,  to  the  director,  the  pro- 
ducer and  all  those  whose  reputations  or  money  are,  to  a 
comparative  degree,  at  stake  in  proportion  to  the  measure 
of  success  that  the  picture  in  question  will  enjoy. 
Haste  Makes  Bad  Stills 

But  wherever  the  cinematography  is  injured  by  over- 
burdening the  cinematographer,  the  grade  of  stills,  which 
he  must  take  "on  a  fly,"  is  many  more  degrees  below 
par.  Put  yourself  in  the  cinematographer's  shoes.  If 
you  were  worrying  about  the  illumination  for  the  next 
scene,  if  you  were  thinking  hard  as  to  the  best  cinemato- 
graphic treatment  for  the  coming  episode,  don't  you 
think  that  you  would  get  through  the  taking  of  stills 
as  rapidly  as  possible  so  as  to  have  every  available  bit 
of  time  in  which  to  make  the  necessary  preparations  for 
the  subsequent  sequence's  cinematography? 

Reputation  Based  on   Cinematography 

After  all,  the  cinematographer's  reputation  is  based 
upon  the  cinematography  that  he  produces — and  not  upon 
the  stills  that  he  snaps  during  the  time  that  he  isn't  pro- 
ducing cinematography.  It  is  no  more  than  reasonable, 
therefore,  for  him  to  give  every  possible  bit  of  attention 
to  his  cinematography — even  if  at  the  expense  of  the 
intermittent  still-making  which  he  imposed  upon  him. 
Staff  Still  Photographer 

But  to  whom  will  those  companies,  whose  cinemato- 
graphers  make  their  stills,  turn  if  the  cinematographer 
does  not  make  them?  Their  solution  is  very  simple.  It 
lies  in  the  direction  already  followed  by  progressive  pro- 
duction organizations —  add  a  capable  still  man  to  the 
company  staff,  make  him  and  him  alone  responsible  for 
the  stills. 

With  such  an  arrangement,  the  cinematographer  is 
relieved  of  unnecessary  pressure,  and  the  way  is  opened 
for  well-taken  stills.  But  you  must  observe  that  the  sug- 
gestion provides  that  it  shall  be  a  competent  still  photo- 
grapher who  should  be  annexed  to  the  staff.  Incom- 
petent still  photographers  can  work  just  as  much  harm  as 
incompetent  cameramen. 

Mind  at  Ease 

His  job  being  to  take  good  stills,  the  still  photographer, 
other  conditions  not  being  combative,  may  center  his  en- 
tire attention  thereon,  instead  of  worrying  himself  about 
getting  on  to  the  filming  of  the  next  scene  as  the  cinemato- 
grapher perforce  must  do.  Not  only  that,  the  still  photo- 
grapher, once  he  has  made  his  negative,  can  give  its  de- 
velopment his  personal  attention  and  not  carry  with  him 
the  extra  worry  of  the  handling  of  hundreds  of  feet  of 
motion  picture  negative. 

Asset  to  Publicity  Department 

Aside  from  these  very  fundamental  evidences,  the  still 
photographer  who  knows  his  business  thoroughly  is  a 
great  help  to  his  company's  publicity  department  if  for 
no  other  reason  than,  unlike  the  cinematographer,  he 
has  more  time  to  work  with  the  publicists  on  what  is 
needed  in  the  way  of  stills.  Ask  any  publicity  depart- 
ment. 

(Continued  on  page  17) 


June,  1924- 


AMERICAN      CINEMATOGRAPHER 


Five 


Shooting  Sheik- Stuff  on   the   Sahara   Desert 


A.  S.   C.  Member  Spends 

Five  Weeks  in  Filming  Pro-      By  Robert  Kurrle,  A.  S.  C. 

duction  on  African  Desert. 


Photographic  Conditions 
Described.  Picture  Fin- 
ished at  Eclair,  Epinay. 


Robert  Kurrle,  A.  S.  C,  (left)  Al  Green  stooping,  and  Wallace  Fox,  assistant  director,  "set  up" 
on  the  Sahara.  Partial  vieiv,  on  the  left,  of  hundreds  of  camels,  and,  on  the  right,  of  the  scores  of 
Arabs,  photographed  by  Kurrle. 


"Sheik"  motion  picture  productions  have  proved  great 
sources  of  entertainment  to  American  audiences,  but  the 
making  of  such  productions,  when  the  filming  entails 
working  in  the  actual  locale  in  the  Sahara  desert,  is  not 
such  an  amusing  experience  to  those  cinema  workers  on 
the  vehicle  in  question.  This  fact  was  bountifully 
learned  by  the  members  of  Edwin  Carewe's  company  and 
staff  which  made  the  First  National  production,  "A 
Son  of  the  Sahara,"  which  is  just  being  released  through- 
out the  country. 

Five  Weeks  On  Sahara 

To  give  authentic  scenes  to  "A  Son  of  the  Sahara," 
five  weeks  were  spent  on  the  great  African  desert  during 
which  time  we  filmed  70,000  feet  of  negative.  To  pho- 
tograph this  production  we  were  called  upon  to  cope  with 
conditions  with  which  we  were  not  familiar ;  and  in  so 
doing  we  could  not,  cinematographically,  make  mistakes, 
and  then  "charge  them  up  to  experience"  as  well  as  to 
the  cost  of  the  production.  To  the  contrary,  the  cinema- 
tographer  had  to  be  prepared  to  foresee  results,  to  judge 
which  he  did  not  have  precedent  to  guide  him. 

Not  One  Bad  Scene 
That  we  were  successful  in  our  survey  of  what  we  had 
to  do  may  be  indicated  by  the  fact  that  in  all  of  the 
70,000  feet  of  negative  that  we  exposed  there  was  not  a 
single  bad  scene.  Moreover,  we  did  not  view  the  pro- 
jection of  even  one  of  these  scenes  all  the  while  we  were 
on  the  desert,  our  first  glimpse  coming  after  we  had  left 
the  Sahara  and  arrived  in  Paris.  However,  we  did  not 
for  a  minute  relax  our  vigilance  over  the  film  exposed  and 


always  developed  the  first  and  last  foot  on  each  roll  as 
a  precautionary  measure. 

While  we  were  working  under  strange  conditions,  our 
camera  equipment  and  supplies  were  not  out  of  the  or- 
dinary, and  could  hardly  have  been,  without  a  tre- 
mendous outlay  for  transportation  over  the  desert 
stretches.  We  used  two  cameras,  Bell  and  Howell  num- 
bers 35  and  36,  the  same  which  we  used  in  filming 
"Abraham  Lincoln."  Mr.  Carewe  thought  so  much  of 
their  performance  that  he  bought  them  for  his  future 
productions.  We  took  six  reflectors  and  one  mirror  to 
the  desert  with  us  as  well  as  50,000  feet  of  negative, 
sending  for  an  additional  25,000  as  the  picture  pro- 
gressed. 

Sand   Was  Bothersome 

You  may  be  assured  that  the  desert  sands  did  not  leave 
us  go  unmolested  insofar  as  the  cinematographic  end  of 
the  picture  was  concerned.  There  was  one  stretch  in 
particular  of  bad  weather — a  three  day  sandstorm,  dur- 
ing the  worst  periods  of  which  the  camels,  without  com- 
mand, would  sink  to  the  ground  while  their  drivers 
huddled  up  to  the  shelter  that  the  lee  side  of  the  animal 
offered. 

No    Film    Scratched 

That  none  of  our  negative  was  ruined  during  these 
sand  disturbances  is  nothing  short  of  a  miracle,  as  often 
when  changing  film  I  would  open  the  camera  and  find 
sand  collected  in  the  bottom.  But  the  film  was  not  in- 
jured in  the  least.  As  a  precautionary  measure  I  had 
Al  Green,  my  assistant  who  turned  second  on  the  picture, 


Six 


AMERICAN      CINEMATOGRAPHER 


June,  1924 


Robert  Kurrle,  A.  S.   C,   (left)   and  Al  Green,  his  assistant,  working  on  a  platform   in  a 
narrow  Sahara  street.    Note  the  desert  types  lining  the  buildings. 


take  both  of  the  cameras  apart  each  night  and  clean 
them  for  the  next  day's  work.  What  seemed  a  paradox, 
however,  was  the  fact  that  while  none  of  the  film  was 
scratched,  we  had  to  use  three  sets  of  tripod  screws  be- 
fore we  left  the  desert.  It  seemed  that  the  sand  worked 
into  the  threads,  and,  glass-sharp,  ground  the  screws  so 
that  they  snapped  right  in  half. 

Our  first  stop  along  the  Sahara  was  at  Biskra  where 
we  remained  for  three  days  after  which  we  proceeded  to 
Touggourt  where  we  put  up  for  four  days.  Then  there 
was  another  stay  of  three  weeks  at  Biskra,  a  week  at 
Algiers  where  we  made  the  garden  scenes,  and  a  week  at 
El  Kantara. 

Southern    California   Light    Values 

At  all  of  these  places  we  found  that  the  light  values 
were  very  similar  to  those  in  Southern  California  and  I 
experienced  no  trouble  from  that  end.  However,  the 
country  was  very  flat  and  being  thus  of  unbroken  lines, 
it  was  no  easy  matter  to  introduce  contrast  with  only  a 
few  palms  to  punctuate  the  horizon.  The  buildings  in 
the  desert  locations,  being  made  from  soil  or  mud  as 
the  adobe  houses  of  old  California  and  Mexico  were, 
almost  blended  exactly  with  the  rest  of  the  landscape, 
thus  increasing  the  problem  of  getting  contrast.  We 
solved  the  matter  by  working  for  the  shadows  which 
came  before  and  after  noon. 

French   Government   Co-operates 

The  co-operation  which  the  French  government  gave 
us  was  nothing  short  of  perfect  and  made  possible  our 
obtaining  faithful  atmosphere  that  would  have  been  de- 
nied us  even  in  such  a  prolific  place  as  Southern  Cali- 


fornia. For  instance,  it  is  doubtful  that  if,  in  the  entire 
United  States,  we  would  have  been  able  to  gather  the 
more  than  500  camels  that  we  used  in  the  production. 
Likewise,  it  would  have  been  impossible  to  assemble  the 
adept  horsemen  of  the  Sahara  that  we  had  in  the  instance 
of  the  300  Spais  which  the  French  government  allowed 
us  to  use  for  three  full  days.  At  El  Kantara,  "the  gate- 
way to  the  desert,"  we  not  only  were  given  the  shooting 
privileges  of  the  fort  but  were  allowed  to  employ  360 
of  the  black  Sengalese,  500  camels  and  500  Arabs  in  the 
scenes  made  there.  All  of  the  Spais  who  appeared  before 
our  cameras  were  mounted  on  the  fullest  blooded  Ara- 
bian horses  which  proved  magnificent  animals  for  action 
scenes. 

Six   Thousand  Arabs 

We  found  the  matter  of  getting  "extras"  a  com- 
paratively simple  subject  and  surely  saved  a  lot  of  pro- 
duction cost  in  this  respect.  At  Sidi  Okba  we  used  6,000 
Arabs.  While  they  were  not  the  most  comprehensive 
people  in  the  world  in  falling  into  the  formation  that 
our  scenes  required,  they  at  least  proved  a  blessing  to 
"Red"  Green,  my  assistant,  who  soon  discovered  that 
they  would  engage  in  a  battle  royal  for  the  honor  of 
carrying  the  cameras  and  equipment,  even  for  a  dis- 
tance of  several  miles,  for  the  munificent  tip  of  one-half 
franc. 

While  the  Arabs  were  indifferent  to  the  climate  and 

their    surroundings,    members    of    the    Carewe    company 

were  not  so  fortunate.     In  fact,  Green,     the     assistant 

cameraman,  was  the  only  person  to  escape  illness.     Bert 

(Continued  on  page  18) 


June,  1924 


Klieg  Eyes 
Forever? 


AMERICAN      CINEMATOGRAPHER  Seven 

Ocular   Ailment   Known   to 

By  Herbert  Stanton  Marshutz  ,-,  .  .  txt-ti  tVi       r>i 

*     ,,    ,  ,  „„..  ,r     ..    ,  Eskimos.  Will  rum  rlay- 

of   the   Marshutz  Optical   Co.,   Los   Angeles;  J 

and  chairman,  committee  on  public  relations,  pnntrart     Cotorartc? 

California  State  Association  of  Optometrists.  CIS     CUUUdLl.     V^,dldl  dt.  Lb  I 


Although  he  didn't  know  it  by  the  same  title,  the  Es- 
kimo discovered  Klieg  Eyes.  But  a  rose  by  any  other 
name  is  just  as  sweet.  And  so  an  eye  inflamation  known 
in  Hollywood  as  Kliegs,  up  North  of  Labrador  where  a 
man's  a  man,  etc.,  would  be  just  as  irritable  by  any  other 
name. 

Frankly  we  don't  know  how  they  describe  it  in  their 
own  language  North  of  Labrador  but  North  of  Wilshire 
Boulevard,  they  say  it  feels  like  a  "sand  in  the  eyes." 
Today  there  is  no  sand  where  the  orange  groves  used  to 
prosper  in  Hollywtood  and  there  is  no  sand  up  there  where 
the  nights  are  six  months  long. 

"Klieg  Eyes"  was  snowblindness  in  the  north  pole 
country,  "electric  ophthalmia"  when  the  acetyline  welder 
operator  worked  his  trade  without  eye  protectors,  and 
today  in  the  picture  studios  it  is  "sand  in  the  eyes"  and 
"Kliegs." 

No  Hollywood  Monopoly 

Evidently  "Kliegs"  cannot  claim  to  be  a  purely  Hol- 
lywood or  Culver  City  malady.  Surely,  if  the  Eskimo, 
the  welder,  and  the  actor  all  suffer  the  same  ocular  dis- 
comfort, with  the  same  external  manifestations  and  the 
identical  irritations,  there  must  be  a  cause  common  to 
them  all. 

With  the  coming  of  the  great  super-arcs  came  "Klieg 
Eyes"  and  the  diagnosis  of  the  layman  and  the  studio 
worker  pointed  to  the  fine  carbon  dust  as  the  cause.  Per- 
haps the  feeling  of  foreign  substances  in  the  eye  prompted 
this  opinion,  wihich  was  generally  accepted  for  many 
years.  However,  it  was  found  that  when  arcs  were  care- 
fully screened,  "Klieg  Eyes"  appeared  in  the  usual  way. 

In   the  Far  North 

The  Eskimo  invented  his  crude  snow-goggles  and  the 
electric  welding  trade  adopted  special  lenses  to  reduce 
the  intensity  of  illumination.  The  Eskimo  goggle  with 
its  narrow  slits  for  vision  became  the  Stenopaic  slit  eye 
protector  worn  in  northern  countries  to  check  snow- 
blindness.  The  early  goggles  for  welding  developed  into 
absolutely  safe  industrial  goggles  with  lenses  made  of 
glass  whose  chemical  contents  gave  a  protecting  color 
that  filtered  light  of  its  danger. 

But  for  the  motion  picture  profession,  practically  noth- 
ing has  been  done  to  prevent  "Klieg  Eyes." 

If  there  is  a  cause  common  to  them  all,  why  not  a 
remedy  for  them  all? 

A  discussion  of  remedies  must  be  preceded  by  a  word 
on  causes. 

Ultra  Violet  and  the  Skin 

If  one  lies  on  the  beach  a  half-day,  the  exposed  skin 
will  be  burned  or  tanned  to  a  degree  proportionate  to 
the  intensity  of  the  sun  and  the  sensitiveness  of  the  in- 
dividual. The  same  kind  of  burned  skin  or  flesh  can 
be  obtained  without  sun's  rays  by  exposure  to  intense 
artificial  illumination.  This  man-made  sunlight,  how- 
ever, must  be  very  rich  in  the  ultra-violet  and  infra-red 
element  of  the  spectrum  to  cause  burning  of  skin.  We 
may  rightfully  conclude  therefore,  that  the  skin  or  any 
delicate  membrane  will  be  affected  in  proportion  to  the 
amount  of  ultra-violet  and  infra-red  that  is  present  (with 
allowances   for  varying  sensitiveness    of    different   indi- 


viduals). Burning  of  any  matter  is  the  result  of  heat 
secured  by  any  one  of  a  number  of  available  methods. 
Burning  from  light,  whether  it  is  solar  or  man-made,  is 
the  result  of  the  heat  element  in  light.  These  heat  ele- 
ments in  light  are  actinic,  i.  e.,  they  are  capable  of  pro- 
ducing chemical  changes. 

Actinic  Power 

The  powers  of  actinic  light  are  known  to  chemists, 
physicists,  optometrists,  and  other  interested  in  light.  The 
greatest  commercial  usage  of  actinic  light  is  photographic, 
the  actual  impression  being  made  through  the  chemical 
change  that  transpires  on  the  plate  or  film  when  contact 
with  actinic  light  is  made.  The  actinic  elements  in  light 
are,  of  course,  the  invisible  extremes  of  the  spectrum, 
the  infinitesimal  wave  lengths  between  the  X-ray  and 
visible  violet  light,  at  one  end,  known  as  the  ultra-violet 
and  the  longer-waves,  the  infra-red  beyond  the  visible  red 
at  the  other  margin  of  the  spectrum. 

Ultra-violet  and  infra-red  are  powerful,  though  in- 
visible to  the  eye.  Light  broken  up  into  its  component 
elements  of  varying  wave  lengths  will  reveal  the  ex- 
tremes of  the  spectrum  only  through  the  aid  of  photo- 
graphy. In  addition  to  sun-burn,  ultra-violet  is  some- 
times responsible  for  "bloodshot"  eyes,  noticed  after  a 
day's  exposure  to  sunlight,  on  a  motor  trip  for  example. 

The  British  Discoveries 
In  England,  experiments  in  glass  foundries,  proved 
conclusively  that  certain  forms  of  cataract  (the  forming 
of  opaque  opacities  in  the  lens  of  the  eye)  were  due  to 
exposure  to  the  hot  breath  and  glare  of  the  furnace,  which 
were  rich  in  ultra-violet  and  infra-red  rays.  Sir  Wil- 
liam Crookes,  the  eminent  British  scientist,  developed 
the  form  of  glass  that  bears  his  name,  in  his  successful 
effort  to  reduce  the  prevalance  of  cataract  in  the 
English  furnace  rooms. 

The  Studio  Problem 

To  secure  safety  in  motion  picture  illumination  is 
truly  a  problem  as  the  elimination  or  reduction  of  in- 
visible rays  would  greatly  interfere  with  successful  photo- 
graphy. This  will  be  true  until  a  photographic  film  can 
be  found  that  is  sensitive  to  light,  free  of  ultra-violet  or 
infra-red. 

"Klieg  Eyes"  is  not  as  dangerous  as  other  ocular  dis- 
turbances that  are  known  to  be  the  result  of  the  same  un- 
derlying cause — excess  of  actinic  rays.  Experiments  with 
ultra-violet  and  infra-red  upon  animal  matter  have 
brought  cararact-like  formations  as  a  result  of  extreme 
exposures.  It  is  too  early  in  the  history  of  moving  pic- 
tures to  state  whether  or  not  the  over-exposure  to  light 
will  increase  the  probability  of  the  acquisition  of  cataract 
among  members  of  the  profession. 

While  such  a  forecast  cannot  be  made  without  as- 
suming a  great  deal,  it  may  be  rightfully  said  that  no  op- 
tometrist or  oculist  would  be  surprised  at  such  a  result. 

Eyesight  Undervalued 
Eyesight  has  been  undervalued  by  producers  and  illumi- 
nating engineers.     In  the  days  of  more  sun-lighting  and 
less   arc   lighting   on    motion   picture   stages,    Klieg   Eyes 
(Continued  on  page  18) 


Eight 


AMERICAN      CINEMATOGRAPHER 


June,  1924 


Work  Progresses  on  Building  for  A*  S*  Q  Offices 


Brick  Work  Reaches  Com- 
pletion. Heavy  Demand  to 
Buy   Guaranty   Offices. 


A.  S.  C.  Quarters  to  Be 
Masterpiece  of  Architect- 
ural, Technical  Perfection. 


Architect's   drawing   of    Guaranty   Building,   Hollywood,   new   home    of  A.   S.   C.   and  the 

American  Cinematographer. 


Rapid  strides  are  being  made  in  the  construction  of  the 
new  Guaranty  Building  in  which  the  American  Society 
of  Cinematographers  has  bought  a  major  unit  on  the  top 
floor  to  house  the  future  activities  of  the  A.  S.  C.  and 
of  the  American   Cinematographer. 

The  framework  of  the  structure  has  been  completed 
and  the  brickwork  has  already  reached  the  upper  stories. 
At  the  present  rate  of  progress,  the  possibility  is  that 
the  building  will  be  ready  for  occupancy  by  September 
first,  although  the  Guaranty  officers  do  not  vouch  for  a 
date  earlier  than  October  first. 


Heavy  Demand 

Judging  from  a  general  demand  that  is  being  mani- 
fested on  all  sides,  all  office  space  in  the  new  building  will 
be  sold  out  within  the  next  several  weeks.  Virtually 
every  one  of  the  offices  in  the  lower  stories  already  are 
exhibiting  "sold"  signs  in  the  windows. 

Los  Angeles  Recruits 
Hal  Hardin,  one  of  the  staff  of  Hollywood's  edifice, 
reports  a  demand  for  space  in  the  new  structure  that  even 
(Continued  on  page  17) 


June,  1924 


AMERICAN      CINEMATOGRAPHER 


Nine 


Drama  Treatment  Enters  Comedy  Photography 


Comedy  Cinematographer 
of  Features  Must  Know 
Dramatic  Value  in  Work. 


By  Walter  Lundin,  A.  S.  C. 

Chief   Cinematographer,   Harold   Lloyd 
Productions. 


Much  to  Do  Besides  Being 
Master  of  Trick  and  Action 
Filming.   Very  Dangerous. 


Stills  by  Gene  Kornman 
An    illustration    of   the    type    of   photography    that    the    comedy    cinematographer    is    given 
opportunity  to  produce  in  the  feature  comedy— which  is  quite  different  from  the  "straight  stuff" 
to  iv /rich  his  efforts  formerly  were  confined. 


Those  pioneers  who  began  to  ob- 
serve cinematographic  tendencies 
several  years  ago  were  of  the  unani- 
mous opinion  that  being  a  "comedy 
cameraman"  meant  an  ability  to  do 
"trick  stuff"  and  to  turn  out  hard, 
wire-sharp,  black-and-white  nega- 
tive. 

At  the  time  they  made  their  ob- 
servations they  were  right.  But 
comedies,  like  other  phases  of  film 
production,  have  progressed,  and 
cinematography  in  comedies  has  like- 
wise risen  to  a  different  plane. 
Story  Subordinate 

In  the  olden  days,  comedies,  I 
might  say,  were  objective  to  an  ex- 
tremity. All  action,  never  a  dull 
moment,  keep  the  audience  on  the 
edge  of  the  chair,  story  and  plot  al- 
ways subordinate  to  gags. 


Comedies  must  still  have  their  gags, 
but  even  therewith,  this  medium  of 
motion  picture  entertainment  is  no 
longer  identified  with  action  at  any 
cost — and  there  is  still  plenty  of 
action — but  has,  on  the  contrary  I 
might  again  hazard  an  opinion,  be- 
gun to  stroll  on  paths  of  the  subjec- 
tive. By  that  I  mean  that  comedies 
of  the  outstanding  class  are  no  longer 
a  series  of  incoherent  situations  which, 
though  laughable,  were  not  always 
quite  reasonable. 

Story   Carried   Throughout 

No,  the  feature-length  comedy  has 
changed  this.  There  is  a  thread  of 
story  that  runs  through  the  channel 
of  humor ;  there  are  drama  and  mo- 
ments of  pathos  in  the  most  hilarious 
of  comedies — and  all  this  directly  af- 


fects the  cinematographer  who  films 
such  productions. 

Doomed   to    Obscurity 

How  often  in  the  old  days  did  the 
comedy  cinematographer  look  at  the 
work  of  his  fellow  artist,  the  dra- 
matic cinematographer,  as  it  was 
flashed  on  the  screen,  rich  in  atmos- 
pheric effects,  and  wish  that  he  would 
have  the  opportunity  of  essaying  some- 
thing as  pretentious.  But  unless  he 
would  leap  to  the  ranks  of  the  dra- 
matic, he  could  do  little  more  than 
wish.  Instead,  he  would  go  to  the 
studio  the  next  day  and  find  conso- 
lation in  photographing  some  particu- 
larly hazardous  piece  of  action  or  in 
creating  some  new  trick — which, 
mind  you,  are  not  for  a  moment  to 
be  belittled. 


Ten 


AMERICAN      CINEMATOGRAPHER 


June,  192i 


Harold  Lloyd  (right)  and  Walter  Lundin,  A.  S.  C,  his  chief  cinema- 
tographer.  Lundin  has  been  photographing  Lloyd  productions  for  the  past 
seven  years. 


Public's  Tastes 

But  the  majority  of  that  small 
minority  of  motion  picture  patrons 
who  have  ever  recognized  photo- 
graphy in  the  least,  always  have  been 
impressed  with  something  "beauti- 
ful"— such  as  lovers  under  the  blos- 
soming trees  in  springtime,  etc.,  etc. 
They  may  have  a  faint  idea  that 
comedy  cinematography  entails  danger 
to  life  and  limb  as  well  as  a  knowl- 
edge of  the  most  intricate  details  of 
the  camera,  but  even  with  this  sus- 
picion they  are  never  able  to  place  it 
on  a  plane  of  comparison  with  the 
dramatic. 

The  feature-length  comedy,  how- 
ever, with  its  plot,  its  recognition  of 
the  subjective  as  well  as  the  objec- 
tive, its  points  of  pathos  and  drama, 
has  changed  the  outlook  of  the  cin- 
ematographer  making  the  same.  He 
is  no  longer  consigned  to  the  oblivion 
of  what  is  considered  as  ordinary,  but 
is  given  the  opportunity  to  step  forth 
with  sequences,  the  photography  in 
which  vies  with  that  in  dramas  for 
pictorial  beauty  that  arrests  the  at- 
tention of  the  critically  inclined. 

Atmospheric  Treatment 
Those  dramatic  moments,  which 
have  been  injected  into  the  feature 
comedy  to  attract  sympathy  to  the 
star  for  instance,  may  be  treated  at- 
mospherically— which  is  just  what  the 
comedy  cinematographer  has  been 
waiting  for,  for  years.     He  can  play 


for  effects  that  will  appeal  to  those 
who  are  impressed  with  the  pictorial- 
ly  beautiful.  By  his  photography  he 
can  show  that  he  has  a  sense  of  dra- 
matic values  as  well  as  of  comedy 
situations. 

Versatility  Required 

All  of  which  calls  for  the  utmost 


versatility  on  the  part  of  the  comedy 
cinematographer.  Not  only  must  he 
be  able  to  "turn  his  camera  inside  out" 
for  trick  stuff  as  has  so  aptly  been 
said,  not  only  must  he  have  the  nerves 
of  an  iron  man,  but  he  must  be  able 
to  make  his  work  compare  with  that 
of  the  most  favorable  of  his  fellow 
artists  Avho  have  made  their  reputa- 
tions in  dramatic  motion  pictures. 

Without  committing  myself  to  ap- 
praising cinematography  in  Harold 
Lloyd  productions,  I  may  safely  say 
that  it  was  our  endeavor  at  least  to 
imbue  certain  sequences  of  recent 
Lloyd  productions  with  atmospheric 
dramatic  treatment.  I  refer  in  par- 
ticular to  "Dr.  Jack,"  "Grandma's 
Boy,"  "Safety  Last,"  and  "Girl  Shy." 
If  the  reader  who  viewed  these  pro- 
ductions recalls,  it  will  be  remem- 
bered that  there  were  not  a  few  scenes 
in  them  that  were  far  removed  from 
old-school  comedy.  They  truly  were 
gems  of  drama  and  pathos. 

Dramatic  Cinematography 
What  did  this  mean  for  the  cine- 
matographer? Should  he  film  such 
scenes  very  "contrasty"  with  plenty 
of  "black  and  white"  as  he  would  do 
in  straight  comedy  episodes?  Or  was 
it  his  duty  to  give  the  sequence  the 
treatment  it  deserved — and  that  treat- 
ment of  course  would  be  dramatic 
treatment.  Clearly  there  was  only 
one  logical  thing  to  be  done — leave 
the  beaten  path  of  comedy  cinemato- 
(Continued  on  page  25) 


Walter  Lundin,  A.  S.   C,  crouching   on  a  platform   affixed  to   the  front 
of  an  automobile  preparatory  to  shooting  Lloyd  in  dangerous  "chase"  scenes. 


June,  1924 


AMERICAN      CINEM  ATOGRAPHER 


Eleven 


Co-operation  of  the 
Technical  Department 

Those  who  know  what  motion  picture  production  real- 
lv  amounts  to,  have  long  ago  realized  that  the  making  of 
a  picture  is  not  a  one-man  proposition.  To  use  a  some- 
what time-worn  but  plain  illustration :  producing  a  pic- 
ture is  much  like  putting  an  army  into  the  trenches — 
several  individuals  are  needed  to  perform  many  duties  in 
order  to  put  one  person  in  the  front  line  trenches. 

Among  all  the  various  units  which  go  to  make  up  the 
production  personnel  of  a  motion  picture,  that  of  the 
technical  department  cannot  be  overlooked.  An  efficient 
technical  department,  guided  by  a  technical  director  who 
really  knows  film  production,  can  save  the  producer 
thousands  of  dollars. 

Delays  and  Changes 
On  the  other  hand,  an  inefficient  technical  depart- 
ment can  be  the  cause,  by  delays  and  changes,  of  running 
up  thousands  of  dollars  worth  of  expense  against  the 
producer.  How  many  times  has  it  happened  that  the 
director  and  the  entire  company  are  on  the  set  ready  to 
begin  work,  only  to  have  the  cinematographer  discover 
that  the  set  in  question  defies  being  photographed  due  to 
inherent  impossibilities  in  its  construction.  One  may 
ask  why  the  cinematographer  was  not  present  to  prevent 
the  faulty  construction.  But  during  the  period  of  high 
production  pressure  when  the  cinematographer  leaves  the 
studios  late  at  night  and  reports  back  early  the  next 
morning,  it  is  a  physical  impossibility  for  him  to  super- 
vise the  over-night  construction  of  sets. 

Test  Is  Filming  Qualities 

Don't  forget  that  no  matter  how  beautiful  a  set  may 
be  to  the  eye,  it  is  a  dead  loss  unless  it  can  be  properly 
lighted — and  photographed.  "Over  realism"  in  design- 
ing and  painting  sets  works  a  great  deal  of  harm.  A 
four-wall  set,  painted  very  light,  is  very  beautiful  if  re- 
garded as  one  would  regard  the  interior  of  one's  home 
and  would  show  up  well  under  the  illumination  of  a  few 
Mazda  lights.  As  long,  however,  as  we  have  to  use 
banks  and  broadsides  to  illuminate  sets  they  should  be 
built  accordingly. 

Building  of  sets  requires  something  else  besides  able 
architectural  and  skilled  labor.  It  requires,  it  may  be 
emphasized  again,  a  thorough  knowledge  of  motion  pic- 
ture production.  A  technical  director  may  be  ever  so 
skilled  in  designing  buildings — yet  if  those  buildings, 
whatever  they  may  be,  are  of  such  a  nature  that  they 
cannot  be  photographed  properly,  then  what  good  are 
they  for  the  production  for  which  they  were  built? 
Building  sets  surely  is  not  an  elaborate  house  building 
program. 

Fraction    of  False   Work 

Of  course  every  one  knows  that  a  set  is  not  built  to 
completion  as  the  structure  it  represents  would  be.  But 
how  many  realize  that,  in  probably  the  majority  of  cases, 
it  would  only  be  necessary  to  build  a  fraction  of  the  false 
structures  and  still  have  all  the  background  required  by 
the  action  ? 

Useless  Detail 

What  is  the  use  of  making  a  wall  30  feet  long  when 
only  ten   feet  will   be  included  in   the   camera's  path  of 


Improper      Construction     of 
Sets  Runs  Up  Waste  In  Cost 
of  Motion  Picture  Production 

vision?  What  good  is  the  practice  of  affecting  fresco 
mouldings  when  such  mouldings  are  not  even  included  in 
the  line  of  vision?  Clearly  the  only  end  that  has  been 
served  is  to  waste  the  producer's  money. 
Reflections 
The  same  is  true  of  holding  up  a  company  while  glass 
is  being  removed  from  doors  and  windows  that  open  into 
the  scene  so  that  gauze  or  wire  mesh  may  be  substituted 
— done  to  eliminate  the  reflections.  Likewise,  when 
there  appears  in  the  set  a  window  or  a  door  which  the 
action  demands  shall  be  a  source  of  illumination — what 
a  hardship  it  causes  when  the  door  or  window  in  ques- 
tion is  built  too  near  to  the  studio  wall  or  to  another  set 
to  allow  the  necessary  lighting  equipment  to  be  placed 
(Continued  on  page  21) 


Portland  Cement  Manufacture 

Shown  in  Government  Vehicle 

"The  Story  of  Portland  Cement,  is  the  latest  addition 
to  the  series  of  industrial  motion  picture  films  released  by 
the  Department  of  the  Interior,  through  the  Bureau  of 
Mines.  This  film,  which  is  one  reel  in  length,  has  been 
prepared,  in  co-operation  with  the  Portland  Cement  As- 
sociation, in  commemoration  of  the  100th  anniversary  of 
the  invention  of  Portland  cement  in  1824. 

The  film  depicts  vividly  the  quarrying  of  the  raw  ce- 
ment rock,  one  especially  striking  scene  being  the  setting 
off  by  electrical  means  of  a  huge  dynamite  blast.  The 
loading  of  the  loose  cement  rock  into  cars  by  steam 
shovels;  the  pulverizing  of  the  cement  rock  in  giant 
crushers;  and  the  transporting  of  the  crushed  material  on 
belt  conveyors  are  depicted. 

Methods  of  wet  and  dry  grinding  of  the  crushed  ce- 
ment rock  are  shown.  Views  are  given  of  the  drying  of 
the  ground  material  in  kilns  for  the  purpose  of  driving 
off  water  and  carbon  dioxide. 

Cement  Clinker 

The  spectator  is  shown  how,  at  a  temperature  of  2700 
degrees  F.,  cement  clinker  is  formed,  and  it  is  pointed  out 
that  it  requires  the  burning  of  half  a  ton  of  coal  to  pro- 
duce one  ton  of  cement. 

Views  of  the  cement  clinker  stored  in  huge  piles  are 
given  as  well  as  of  the  final  grinding  of  this  clinker  into 
cement.  Laboratory  testing  methods  by  which  the  manu- 
facture of  Portland  cement  is  at  all  times  kept  under 
careful  chemical  control  are  shown. 

Sieve  Holds  Water 

An  interesting  feature  is  the  depicting  of  the  passing  of 
Portland  cement  through  a  sieve  with  40,000  holes  to  the 
square  inch  and  which  is  capable  of  holding  water.  The 
testing  of  cement  briquettes,  to  determine  whether  the 
material  conforms  to  specifications  of  the  Federal  Gov- 
ernment and  of  the  American  Society  for  Testing  Ma- 
terials, is  shown.  Another  interesting  feature  is  the  em- 
ployment of  intricate  mechanical  appliances  for  storing 
the  finished  cement  in  sacks. 

Copies  of  "The  Story  of  Portland  Cement"  may  be 
obtained  by  schools,  commercial  organizations,  clubs  and 
similar  bodies,  by  applying  to  the  Department  fo  the 
Interior,  Bureau  of  Mines,   Pittsburgh,  Pa. 


Twelve  AMERICAN      CINEMATOGRAPHER  June,  1924 


Tine  Editors'  Lens  -  -  -  focused  by  foster  goss 


An  Association  for  Still  Photographers? 

C|  As  is  pointed  out  in  Gene  Kornman's  story  in  this  issue  and  as  has 
been  emphasized  from  time  to  time  in  the  American  Cinemato- 
grapher,  proper  still  photography  should  be  a  main  cog  in  the 
production  of  any  motion  picture  which  is  expected  to  attract 
public  attention.  No  one  knows  better  than  the  theatre  publicity 
man  how  useless  an  imprudently  taken  still  is.  He  knows,  in 
too  many  instances,  that  only  a  very  modest  percentage  of  stills 
are  found  to  be  of  practical  value  to  the  newspapers  with  which 
he  does  business. 

CJ  If,  as  Mr.  Kornman  suggests,  the  stills  problem  is  to  be  solved  by 
having  a  capable  still  photographer  a  member  of  every  important 
production  staff,  then  why  wouldn't  a  carefully  planned  associa- 
tion of  still  photographers  prove  of  great  worth  in  the  motion 
picture  industry?  An  organization  of  this  sort,  with  high  stan- 
dards set  and  maintained,  should  do  for  still  photography  and 
photographers  what  the  American  Society  of  Cinematographers 
has  done  in  its  particular  field. 

C]J  Worth  while  associations  with  serious  purposes  prove  very  de- 
cided assets  to  the  cinema  profession,  whether  the  fact  is  recog- 
nized or  not.  The  meetings  at  which  their  members  assemble 
and  discuss  matters  of  their  calling  not  only  results  in  the  raising 
of  the  standard  of  that  particular  calling  as  well  as  their  own  ef- 
ficiency but  also  works  an  inestimable  good  for  the  industry  in 
general.  That  the  latter  statement  is  not  without  foundation 
may  be  proved,  for  instance,  in  just  counting  over  the  numerous 
time  and  money-saving  improvements  that  have  been  brought 
about  in  cinematography  in  the  past  several  years. 

t[  If  a  man  is  interested  enough  to  give  up  a  night  every  week  or 
two  weeks  to  talk  shop,  after  a  busy  day's  work,  that  man  surely 
has  his  calling  at  heart.  When  he  gathers  with  his  fellow  mem- 
bers of  the  profession,  he  is  not  only  serving  himself  but  he  is 
serving  his  employer,  whether  the  latter  realizes  it  or  not.     For 


June,  1924  AMERICAN      CINEMATOGRAPHER  Thirteen 


the  discussions  that  take  place  during  the  meeting,  and  the  con- 
versations which  are  held  about  this  or  that  effect  before  or  after 
the  meeting,  enrich  the  fund  of  knowledge  of  every  one  of  the 
participants — who,  when  the  occasion  demands,  can,  for -the 
benefit  of  their  employers,  put  into  practical  use  the  effects  or 
economical  or  "short-cuts"  which  they  have  discussed  with  their 
fellow  members. 

(|  So  it  is  that  each  meeting  of  societies  like  the  American  Society 
of  Cinematographers  or  of  the  Society  of  Motion  Picture  Engi- 
neers in  the  East  places  a  new  brick  in  the  structure  of  a  greater 
film  industry — a  structure  that  is  made  stronger  for  those  who  are 
providing  the  means  to  have  it  built. 

C|  It  may  be  appreciated,  then,  that  a  high-calibre  association  of 
still  photographers  should  find  a  place  for  the  good  of  all  con- 
cerned in  the  motion  picture  profession. 

Accredited  Names  in  the  Program 

€]J  The  deplorable  part  about  cutting  credit  titles  is  that  the  man- 
agers responsible  for  the  prepetration  do  not  even  take  the  trouble 
to  have  the  eliminated  names  inserted  in  their  theatre  programs. 
If  the  producing  company  from  which  the  release  print  was 
rented  knew  enough  about  its  business  to  produce  the  picture, 
then  surely  it  must  have  had  some  definite  reason  for  prefixing 
credit  titles  to  the  print.  Evidently  the  managers  who  slash 
think  otherwise. 

(J  To  make  it  impossible  for  the  responsible  parties  not  to  have  any 
excuse  whatsoever  for  not  publishing  the  accredited  names  on 
the  theatre  program,  those  names  should  all  be  included  in  the 
press-book  of  advertising  and  publicity  matter  from  which  the 
data  for  the  program  is  usually  assembled.  This  point  is  directly 
in  the  hands  of  the  studio  publicity  department,  provided  proper 
sanction  is  present  and  provided  further  that  the  names  in  the 
studio  copy  survive  the  New  York  offices  which  usually  take 
care  of  the  printing  of  the  press-books. 


Fourteen 


AMERICAN      CINEMATOGRAPHER 


June,  1924 


EASTMAN 
POSITIVE  FILM 


Make  sure  the  release  print  is  on  Eastman 
Positive  Film  and  you  make  sure  that  the 
photographic  quality  of  the  negative  is  car- 
ried through  to  the  screen  for  your  audi- 
ences to  enjoy. 

Look  for  the  identification  "Eastman" 
"Kodak"  in  black  letters  in  the  film  margin. 


Eastman  Film,  both  regular  and 
tinted  base,  is  available  in  thou- 
sand foot  lengths. 


EASTMAN   KODAK   COMPANY 

ROCHESTER,  N.   Y. 


June,  1924 


AMERICAN      CINEMATOGRAPHER 


Fifteen 


Heat  Protection  of  Motion  Picture  Film 


Information  on  Important 
Cine  Film  Subject  Given 


By  E.  D.  Tillyer 


From  Transactions,   Society 
of  Motion  Picture  Engineers 


All  films  used  in  motion  picture  projection  contain 
organic  materials  which  will  be  damaged  or  destroyed 
by  excessively  high  temperatures.  This  applies  both  to 
the  inflammable  and  to  the  noninflammable  films;  the 
difference  is  mainly  the  kind  of  damage.  One  type  of 
film  may  stand  a  little  higher  temperature  before  dam- 
age than  another,  but  both  are  within  what  might  be 
called  the  easily  damaged  zone. 

The  heat  reaches  the  film  in  two  ways:  first,  by  con- 
duction and  convection;  and  second,  by  radiation.  In  a 
well-designed  machine,  this  first  source  of  heat  should  be 
entirely  negligible  and  is  small  in  almost  all  machines. 
The  second,  radiation,  is  the  source  which  causes  the  most 
damage  to  the  film  and  is  the  more  difficult  to  control. 

Any  ordinary  source  of  light,  such  as  an  arc,  or  con- 
centrated filament  tungsten  lamp  radiates  energy  of  all 
wave  lengths:  that  is,  some  short  waves  (ultra-violet); 
some  longer  as  the  violet,  blue,  green,  yellow,  orange, 
and  red  of  the  visible  spectrum;  and  some  still  longer, 
known  as  the  infra-red  or  heat  rays  which,  when  strong 
enough,  manifest  themselves  as  heat  to  the  back  of  the 
hand  or  face.  No  matter  which  one  of  these  wave 
lengths  falls  upon  the  film,  if  it  is  absorbed  by  the  film 
(i.e.  the  film  is  a  title  or  black,)  it  will  appear  in  the 
film  as  heat  energy.  The  only  useful  part  of  this  energy 
is  in  the  visible,  all  the  rest  is  waste  energy  and  ob- 
jectionable. 

If  we  consider  only  the  visible  part  of  the  spectrum, 
having  removed  theoretically  all  the  rest,  we  find  that 
certain  parts  of  the  visible  appear  brighter  to  the  eye  than 
other  parts,  even  when  there  is  the  same  energy  in  each 
part.  This  region  of  maximum  sensitivity  of  the  eye  is 
in  the  green  at  a  Wave  length  of  0.55  microns  to  0.56 
microns,  and  would  be  the  ideal  region  for  use  in  pro- 
jection of  "black  and  white"  pictures  where  protection 
against  heating  of  the  film  is  desired  above  all  else.  Of 
course,  the  "white"  parts  of  the  film  would  be  green,  and 
absolutely  no  other  colors  could  be  shown.  For  this 
region  of  the  spectrum  one  lumen  is  0.0015  watts,  or  a 
uniform  point  source  emitting  one  candle  of  wave  length 
0.55  microns  to  0.56  microns  would  require  only  0.02 
watts.  Consequently,  if  all  this  energy  were  absorbed 
by  a  film  we  would  have  a  heating  of  the  film  by  one 
candle  to  the  same  temperature  as  it  would  be  if  electrical 
energy  of  0.02  watts  were  put  through  a  resistance  in  the 
film.  ' 

If  we  could  find  a  source  of  light  which  emitted  only 
monochromatic  energy  of  this  wave  length  (0.55 
microns,)  we  would  have  a  source  100%  efficient  in  the 
production  of  light,  and  consequently  100%  efficient  in 
keeping  the  film  cool.  This  light  would  be  fifty  candles 
per  watt  at  the  film  and  would  heat  the  film  very  much 
less  than  anything  known  at  present.  Such  a  mono- 
chromatic source  would  be  valueless  for  projecting  any- 
thing but  black  and  white,  or  rather  black  and  green. 


The  next  best  type  of  illuminate  would  be  a  black 
body  at  6000°C,  the  normal  white  light.  The  radiant 
efficiency  of  this  (Coblentz)  is  14%  or  equivalent  to 
only  0.14  watts  per  candle  or  7  candles  per  watt.  By 
the  proper  use  of  filters  eliminating  the  invisible  radi- 
ations at  the  ends  of  the  spectrum,  the  heating  effects 
at  the  film  of  such  a  source  could  be  reduced  to  perhaps 
0.05  watts  per  candle.  Unfortunately  we  haven't  such 
an  ideal  source.  Note  that  this  filtering  would  not  in- 
crease the  efficiency  of  the  illuminate,  but  merely  reduce 
its  heating  effect. 

The  best  filter  yet  made  for  the  elimination  of  the 
infra-red  radiations  is  the  copper  chloride  solution  in 
water  recommended  by  Coblentz  for  laboratory  work. 
This  solution  can  be  made  so  that  practically  all  the 
infra-red  is  absorbed  with  little  change  in  color.  Like 
all  absorbers,  the  solution  gets  hot  in  use,  bubbles  form 
and  finally  it  boils.  It  is  exceedingly  efficient,  especially 
for  experimental  work.  Practically,  this  filter  may  be 
made  by  dissolving  copper  chloride  in  extermely  dilute 
hydrochloric  acid  until  a  very  light  green  tint  is  reached 
or  sufficient  protection  obtained. 

The  earliest  solid  filter  known  to  the  writer  was  a 
polished  fine  mesh  bronze  screen  such  as  is  used  for 
sieves.  This  is  effective,  but  reduces  the  light  as  much 
as  the  heat.  In  stationary  pictures  the  flicker  shutter  is 
not  used  so  that  a  decrease  in  original  light  intensity  of 
50%  will  give  the  same  intensity  to  the  projected  picture. 
Consequently  a  loss  by  the  mesh  is  not  so  vital  and  there 
is  some  value  to  this  method.  This  filter  is  a  combination 
absorber  and  reflector;  it  gets  hot,  but  not  as  hot  as  an 
absorber. 

There  have  been  many  more  or  less  successful  attempts 
at  solid  heat  absorbers  for  projection  work.  It  is  needless 
to  review  these  and  until  the  "Ferrous"  glass  was  pro- 
duced by  Sir  William  Crookes,  no  efficient  heat  absorb- 
ing glass  was  known.  This  glass  as  its  name  indicates, 
owes  its  heat  absorbing  properties  to  iron  in  the  ferrous 
state  of  oxidation.  This  is  the  basis  af  all  present  day 
heat  absorbing  glasses  especially  those  used  in  eye  pro- 
tection goggles.  It  explains  why  sometimes  the  hit  or 
miss  type  of  protection  glasses  are  good,  but  more  often 
valuless.  Early  experiments  showed  that  this  glass  when 
properly  selected  would  protect  a  stationary  motion  pic- 
ture film  from  destruction  by  the  heat  of  the  lamp  as 
long  as  it  did  not  break.  The  next  step  was  the  combi- 
nation of  this  ferrous  property  with  either  a  low  coef- 
ficient of  expansion  glass,  one  with  a  high  heat  conduc- 
tivity, or  both.  This  is  fairly  effective  for  moderate  in- 
tensities, and  if  care  is  used  in  cooling,  it  will  not  break. 
It  must  be  remembered  that  the  glass  gets  hot,  very  hot, 
because  it  absorbs  the  infra-red. 

The  glass  is  greenish  in  color  which  is  rather  pleasing 
in  projection,  making  the  light  appear  whiter.  The  re- 
sults of  a  few  samples  are  given  in  Table  1. 

(Continued   on   page    21) 


. 


Sixteen 


AMERICAN      CINEMATOGRAPHER 


June,  1924 


Sprockets 
and  Splices 


By  Earl  J.  Denison 


From  Transactions, 

Society  of  Motion 

Picture  Engineers 


When  pictures  first  began  to  be  used  for  entertainment, 
the  question  of  splicing  and  continuity  was  given  practical- 
ly no  consideration  whatsover,  and  it  was  thought  that  all 
that  was  necessary  to  patch  a  film  was  simply  to  stick 
the  two  pieces  of  film  together,  and  this  was  done  in  the 
crudest  manners,  without  any  knowledge  on  the  part  of 
the  people  who  inspected  the  films  of  what  was  required 
of  the  film  in  the  theatres.  Futhermore,  at  the  time 
which  I  mention,  everybody  was  making  so  much  money 
in  the  picture  business  that  it  overshadowed  any  damage 
to  film,  or  damage  to  presentation  through  lack  of  proper 
handling  of  film.  After  everybody  got  a  little  experience 
and  more  education  in  the  picture  game,  and  profits  were 
not  so  great,  it  began  to  dawn  upon  the  distributors  that 
film  damage  was  causing  them  great  sums  of  money,  as 
prints  were  being  returned  to  exchanges  practically  unfit 
for  further  use,  and  they  immediately  took  the  operators 
to  task,  (operators,  now  more  properly  called  projec- 
tionists) for  the  film  damage. 

In  1919,  I  was  hired  by  the  Famous  Players-Lasky 
Corporation  to  investigate  and,  if  possible,  determine  the 
real  cause  for  the  great  amount  of  excess  film  damage 
they  were  having  at  that  time.  I  visited  practically  every 
one  of  our  twenty-eight  or  thirty  offices,  at  that  time,  and 
followed  up  specific  cases  of  film  damage  by  visiting 
theatres  from  which  film  had  been  returned,  and  examin- 
ing the  condition  of  projectors,  I  soon  learned  that  al- 
though the  film  was  actually  damaged  in  the  theatres, 
the  real  cause  would  be  found  in  our  exchanges. 

I  then  started  an  investigation  of  inspection  and  splic- 
ing conditions  in  our  exchanges,  and  at  the  same  time 
making  a  great  many  experiments  and  tests  myself.  I 
soon  discovered  that  at  least  75%  of  our  damage  was  due 
to  improper  handling  and  splicing  of  film  in  exchanges, 
caused  by  ignorance  on  the  part  of  inspectors,  improper 
equipment  and  methods.  Practically  everyone  of  the  ex- 
changes had  their  own  method  for  making  splices,  and 
each  individual  inspector  had  her  own  pet  way  of  mak- 
ing a  splice. 

At  that  time  most  of  the  splices  were  made  by  what  is 
known  as  the  "wet  method."  That  is,  the  emulsion  was 
moistened  in  order  that  it  could  be  easily  removed.  There 
was  practically  no  effort  made  to  match  the  film  so  that 
the  lap  would  cover  the  scraped  part,  which  is  so  neces- 
sary in  making  a  splice.  There  were  no  devices  in  use  to 
make  a  straight  line  across  the  film,  neither  was  there 
anything  used  to  give  a  positive  register  to  the  sprocket 
holes. 

Also  at  this  time  the  most  common  and  practically  only 
kind  of  a  splice  being  made  in  the  exchanges,  as  well  as 
by  the  operators,  was  known,  and  is  still  known  today, 
as  the  "full  hole  splice."  Furthermore,  at  the  time  of 
which  I  speak,  there  were  no  adequate  machines  or  de- 
vices on  the  market  for  making  splices,  so  I  developed 
several  rather  crude  affairs,  in  order  that  the  film  could 
be  a  little  bit  more  speedily  handled  and  at  the  same  time 
insure  a  better  splice.  However,  these  methods  were  en- 
tirely hand  methods  and  did  not  seem  to  be  much  use  in 
improving  our  film  conditions. 


I  soon  learned  that  in  order  to  improve  conditions,  my 
first  job  was  to  standardize  on  the  method,  as  well  as 
equipment,  and  we  also  began  an  educational  program  in 
our  exchanges,  teaching  inspectors  something  about  the 
film  itself,  as  well  as  what  was  required  of  the  film  in 
theatres,  and  enlightened  them  as  much  as  possible  along 
these  lines.  However,  the  turnover  of  the  personnel  in 
our  inspection  departments  was  so  great  that  we  never 
found  the  same  bunch  of  inspectors  in  an  exchange  on  our 
next  visit.  Our  next  step  was  to  put  each  department  in 
charge  of  a  supervisior.  In  doing  this  we  endeavored  to 
install  the  girl  who  had  shown  the  greatest  intelligence  in 
the  handling  of  the  film. 

These  methods  improved  film  conditions  considerably, 
but  we  were  still  receiving  quite  a  lot  of  complaints  and 
our  film  damage  continued. 

We  had  great  trouble  with  film  cements.  A  number 
of  different  brands  were  on  the  market  and  practically 
every  brand  being  used  more  or  less  in  different  localities. 
We  kept  on  the  lookout  for  some  kind  of  device  that 
wpuld  register  the  film  and  apply  a  pressure  to  the  splic- 
ing, as  we  learned  that  it  was  practically  impossible  to 
make  a  lasting  splice,  unless  a  uniform  pressure  was  ap- 
plied to  it. 

Our  next  step  was  to  install  what  was  commonly  known 
as  a  patch  plate.  This  was  the  first  real  step  in  im- 
proving film  conditions.  Next  we  did  away  with  the  wet 
method  of  splicing  and  standardized  on  the  dry  scraping 
method,  and  we  soon  learned  that  razor  blades  were 
about  the  worst  thing  we  could  use  in  this  work,  as  the 
job  of  removing  emulsion  from  film  is  a  scraping  job, 
and  therefore  required  a  scraping  edge.  So  we  adopted 
a  standard  scraping  tool,  which  was  nothing  more  than 
a  flat  piece  of  flexible  steel,  ground  to  a  scraping  edge, 
and  not  to  a  cutting  edge. 

With  the  adoption  of  these  various  methods  and  equip- 
ment and  continual  education,  film  conditions  began  to 
show  considerable  improvement. 

About  the  time  that  this  work  was  being  carried  on,  I 
was  continually  experimenting  and  investigating,  not  only 
the  film  itself,  but  made  hundreds  of  tests  with  splices 
of  various  widths  and  different  kinds  of  film  cement. 

It  next  dawned  upon  me  that  the  proper  splicing  of 
film  consisted  of  two  distinct  operations,  and  unless  both 
were  properly  used,  that  neither  one  meant  anything.  In 
other  words,  no  matter  if  the  film  was  perfectly  cut  and 
scraped,  we  would  not  get  a  good  splice  unless  the  cement 
was  in  good  condition,  and  properly  applied  to  the  film. 
So  our  next  step  was  to  equip  our  inspectors  with  a  cer- 
tain type  of  bottle,  fitted  with  a  cork  and  cement  brush 
that  would  insure  the  cement  being  kept  in  good  con- 
dition. 

We  experimented  a  great  deal  with  various  sizes  and 
kinds  of  brushes,  and  we  finally  adopted  a  brush  so  ad- 
justed in"  the  cork  that  it  would  dip  just  the  proper 
amount  of  cement  to  cover  the  scraped  part  of  the  film. 
I  think  this  did  more  to  eliminate  buckled  splices  than 
anything  up  to  this  time. 

(Continued  on  page  23) 


June,  1924 


AMERICAN      CINEMATOGRAPHER 


Seventeen 


SOLVING  THE  STILLS  PROBLEM 

(Continued  from  page  4) 
Successful  in  Practice 
One  could  enumerate  many  more  good  results  from  the 
segregation  of  the  cinematographic  and  the  still  depart- 
ments but  the  proof  of  this  pudding  is  that  it  is  successful 
in  practice — at  least,  among  others,  it  has  proved  so  to 
the  writer  in  his  affiliaton  with  Harold  Lloyd.  That  it 
is  satisfactory  to  the  cinematographer  as  well  as  to  the 
company  may  be  testified  to  by  Walter  Lundin,  A.  S.  O, 
chief  cinematographer  for  Harold  Lloyd  productions, 
with  whom  I  have  had  the  pleasure  to  work  for  the  past 
several  vears. 


WORK  PROGRESSES  ON  BUILDING  FOR 
A.  S.  C.  OFFICES 

(Continued  from  page  8) 
the  most  optimistic  contemplation  had  not  anticipated. 
Not  only  have  the  American  Society  of  Cinematographers 
and  other  important  motion  picture  institutions  bought 
quarters  in  the  building,  but  numerous  office  holders  in 
downtown  Los  Angeles  buildings  are  buying,  for  various 
reasons,  in  the  Hollywood  undertaking.  One  unfore- 
seen element  in  this  exodus  from  Los  Angeles  to  Holly- 
wood is  the  pressure  of  the  traffic  congestion  in  the 
Angel  City  that  has  made  necessary  rigorous  parking 
restrictions  which  has  seriously  hampered  the  ingress 
and  egress  of  the  clientele  of  different  offices. 
Best  in   West 

The  completion  of  the  new  Guaranty  Building  will 
mark  the  opening  of  one  of  the  most  modern  buildings  in 
Western  America.  All  offices  will  be  doubled  plumbed 
with  hot  and  cold  water,  and  will  be  utilized  to  gas  and 
compressed  air  as  well  as  electric  wiring  for  heavy  duty, 
such  as  X-ray  or,  in  the  case  of  the  American  Society  of 
Cinematographers,  for  projectors  and  arrangement  for 
lighting  effects  as  formal  occasions  may  demand. 
Impressive  Interior 

The  interior  of  the  A.  S.  C.  headquarters  will  vie 
with  the  whole  building  itself  for  architectural  magni- 
ficence. The  A.  S.  C.  unit  will  be  especially  constructed 
to  meet  the  demands  of  the  Society  and  of  the  American 
Cinematographer.  This  construction  will  bring  out  many 
innovations  which  will  be  a  revelation  both  in  architec- 
tural and  motion  picture  scientific  lines.  Homer  Scott 
and  Fred  Jackman,  A.  S.  C.  members,  have  held  lengthy 
conferences  with  the  architects  and  contractors  in  charge 
of  the  construction  of  the  building  with  the  result  that 
the  A.  S.  C.  quarters  are  destined  to  be  a  gem  in  the  en- 
tire building. 

Stragetic   Location 

The  location  of  the  Society's  offices  are  regarded  as 
particularly  stragetic  as  they  will  command  a  far-flung 
view  of  Hollywood,  Los  Angeles,  the  Wilshire  district, 
Glendale,  Pasadena  and  miles  of  surrounding  country. 

The  creation  of  the  Guaranty  Building  proved  especial- 
ly welcome  to  the  A.  S.  C.  which  had  long  been  in  the 
mind  of  purchasing  its  own  property  in  Hollywood. 
However,  it  was  not  until  the  advent  of  the  Guaranty 
Building  that  a  parcel  of  real  estate  presented  itself  that 
would  measure  up  to  the  demands  of  the  A.  S.  C.  which 
was  particulary  anxious  to  buy  in  a  site  centrally  located 
in  the  film  capital  for  the  express  purpose  of  proving 
suitable  offices  for  the  expansion  of  the  American  Cine- 
matographer. 


WINFIELD-KERNER 

STUDIO 

LIGHTING  EQUIPMENT 

OUR  NEW 

ROTARY  SPOT  LIGHT 

Is  Second  to  None 

Ask  for  Demonstration 

Al.  De  Bus 

"The  Heavylite  Man" 
SOLE  DISTRIBUTOR 

Winfield-Kerner  Products 


Factory: 


323-27    East    6th   Street 
Phone   VAndike    62  I  I 


Hollywood  Office: 

6725-55    Santa   Monica   Blvd. 
Phones:   CRanit  960!,   GRanit  9402 


Night  Phone  CRanit  4864 


FOR  SALE 

Pathe  No.    1110,   completely  equipped  with  six  maga- 
zines,   tripod,    tilt    head,     mats     and     vignettes   of 
every  description.      Guaranteed  in  perfect  shape. 
40,  50  and  85  mm.  lenses.      Bargain. 
JAMES  C.   VAN  TREES 
American  Society  of  Cinematographers 


SCHEIBE'S  PHOTO-FILTER   SPECIALTIES 

Are  now  popular  from  coast  to  coast,  and  in  some 
foreign  countries. 

If  my  many  varieties  do  not  always  fill  the  bill,  tell 
me  your  wants  and  I  will  make  them  on  special  order. 

Always  at  your  service. 

GEO.  H.  SCHEIBE 

1636  Lemoyne  St.  DUnkirk  4975      Los  Angeles,   Cal. 


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6049  Hollywood  Blvd. 
Phone  Holly  725 

COMMERCIAL  PHOTOGIv^PHY 

Slill  Developing  and  Printing 
feHo^  Cameras -FOR.  RENT—  Still 


Eighteen 


AMERICAN      CINEMATOGRAPHER 


June,  1924 


The  ACTING, 
the  STORY  INTEREST, 
—and  PHOTOGRAPHIC  QUALITY 

are  each  Essential  to  a  Masterpiece 

The  Photographic  Success  of  any  Picture 
is  Insured  by  the 

Brilliancy  and  Durability  of  STANDARD    PRINTS 


The  Standard   Way 
in   Hollywood 


Sfanaard "jRhn  Laboratories 

Phone 
Hoi? y  wood 

VSG6. 


Seward  and 'ftamaino  Sbveti 
Hollywood  California 


In  fact,  the  location  of  the  building  at  Hollywood 
Boulevard  and  Ivar  streets  is  being  hailed. as  Hollywood's 
"Seventh  and  Broadway" — which  is  significant  to  those 
familiar  with  Los  Angeles  real  estate,  the  intersection  in 
question  being  the  busiest  in  the  metropolis  of  the  West. 
Loew's  State  theatre  is  located  at  this  point. 


KLIEG  EYES  FOREVER? 

(Continued  from  page  7) 
w&s  a  comparatively  rare  malady.  The  safe  course  to 
follow  today  would  be  to  promote  the  use  of  more  sun- 
light with  a  minimum  of  extreme  artificial  lighting  that 
is  focused  directly  upon  the  individual  or  concentrated 
upon  a  small  area.  More  daylight  work  and  less  night 
lighting  has  also  been  suggested  as  a  relief  measure. 

In  Southern  California  even  ordinary  daylight  is  rich 
in  ultra-violet.  With  the  white  roads,  white  buildings, 
beaches  and  open  air  life,  a  program  of  conservation  of 
vision  is  considered  essential,  especially  among  those 
whose  occupation  forces  them  to  face  extreme  lighting 
assemblages. 

Optometrical   Relief 

Many  optometrists  and  oculists  are  prescribing  Crookes 
tinted  lenses  for  men  and  women  outside  the  picture 
profession,  not  only  for  relief  from  glare,  but  as  a  pre- 
cautionary  measure. 

The  wearing  of  good  quality  lenses  that  filter  ultra- 
violet from  daylight  or  artificial  light  is  to  be  encouraged. 
The  Noviol  and  the  Crookes  have  been  proven  the  best 


by  every  test.  The  Crookes  is  more  pleasant  to  wear  and 
not  unsightly  like  the  Canary-colored  Noviol,  and  has 
therefore  achieved  popularity  in  all  tropical,  and  semi- 
tropical  regions,  at  beach  resorts  and  among  all  who 
have  learned  to  eliminate  discomfort  and  danger  from 
potentially  harmful  super-brilliant  light. 


SHOOTING  SHEIK-STUFF  ON  THE 
SAHARA  DESERT 

(Continued  from  page  6) 
Lytell  contracted  the  African  fever  and  was  out  for  two 
weeks,  losing  20  pounds  in  weight,  all  of  which  was  not 
so  easy  for  the  cinematographer  when  Lytell  picked  up 
the  later  sequences.  In  Touggourt  I  learned  that  I  could 
not  withstand  the  effects  of  the  change  of  water  and  the 
sudden  change  of  temperature.  The  first  afternoon 
there  found  me  very  sick  indeed  but  I  could  not  feel  my- 
self in  duty  bound  to  heed  the  urgings  of  Mr.  Carewe 
to  retire  to  the  hotel,  and  so  we  were  able  to  finish  the 
day's  shooting  without  mishap. 

Sanitary  Conditions  Primitive 
The  sanitary  conditions  in  the  African  towns  we 
visited  were  not  of  the  best  and  we  had  to  be  continually 
on  guard.  Three  times  a  day  we  washed  our  eyes  in 
boric  water  as  a  protection  against  the  flies  which  are  of 
a  much  more  phlegmatic  variety  than  those  with  which 
we  are  acquainted  in  this  country.  As  Victor  Milner, 
A.  S.  O,  once  mentioned  in  one  of  his  articles,  the 
Arabs  will  not  disturb  them  but  allow  them  to  prey  up- 


June,  1924 


AMERICAN      CINEMATOGRAPHER 


Nineteen 


on  their  hands  and  faces  at  will.  In  fact,  I  have  seen 
flies  work  under  both  the  upper  and  lower  eyelids  and 
crawl  about  thus,  without  the  Arab  against  whom  this 
indignity  was  being  perpetrated  even  so  much  as  raising 
his  hand  to  relieve  what  surely  must  have  been  his  an- 
noyance. This  peculiar  form  of  religious  trait  results  in 
blindness  and  horrible  disfiguration  that  is  in  evidence 
on  all  sides. 

Interiors  Made   in   France 

After  serving  five  weeks  on  the  Sahara,  we  went  on 
to  Paris  to  finish  the  production  and  make  the  in- 
teriors. We  Worked  at  the  Eclair  Studios,  at  Epinay, 
15  miles  out  of  Paris.  Conditions  there,  it  must  be  ad- 
mitted, were  not  of  the  sort  that  are  most  helpful  to 
the  cinematographer  in  simplifying  his  work.  I  was 
hard  put  to  offset  my  handicap  of  a  dearth  of  lighting 
equipment  which  in  the  whole  consisted  of  four  50  am- 
pere spots,  three  banks  of  Cooper  Hewitt  tubes  and  one 
Sunlight  arc.  The  breach  was  filled  somewhat  dismally 
by  four  big  steel  frames,  each  of  which  contained  six 
common  street  arcs.  The  contraptions  were  about  as 
easy  to  handle  as  the  Woolworth  building.  If  diff users 
were  applied  the  source  of  light  became  useless  and  if 
they  were  not  applied  the  eyes  of  the  cast  sufferd. 
Lighting  Difficulties 

The  French  electricians,  who  were  handsomely  re- 
warded on  a  scale  of  one  dollar  per  day,  were  not  of  the 
sort  to  make  the  task  simpler.  They  Were  not  the  most 
rapid  workers  in  the  world,  could  speak  no  English,  and 
after  much  pleading,  Mr.  Carewe  finally  persuaded  them 
to  take  an  hour  and  a  half  instead  of  the  customary  two 
hours  and  a  half  for  lunch.  After  I  had  used  the  greatest 
of  care  in  arranging  the  lights  for  the  effects  sought,  the 
electricians,  checking  the  carbons,  would  move  them  in 
so  doing  and,  having  moved  them,  would  never  take  the 
trouble  to  replace  them  in  the  proper  position.  Remon- 
strances only  brought  "what's-it-all-about"  expressions 
on  their  faces. 

I  was  able  to  offset  the  diminutive  90  by  40  foot  size 
of  the  stage  (which  was  almost  all  covered  with  our  set) 
and  the  handicap  of  the  illumination  by  painting  the  set 
in  a  non-absorbing  ivory  which  represented  perfectly  the 
color  of  the  architecture  on  the  Sahara.  Sets,  it  must  be 
said,  were  constructed  very  inexpensively;  a  richly  ap- 
pearing apartment  set  only  cost  $56  in  United  States 
money. 

The  executives  of  the  studio,  at  which  comedies  were 
produced  almost  exclusively,  could  not  understand  the 
results  that  we  were  getting  from  our  negative.  They 
were  accustomed  to  giving  theirs  only  three  minutes  of 
development  but  when  they  learned  that  Bud  Courcier, 
who  was  handling  our  negative,  was  giving  it  12  minutes 
they  were  astonished  although  they  admitted  the  dif- 
ference between  their  very  hard  stuff  and  the  quality  that 
|    we  turned  out. 

We  finished  our  work  at  Epinay  with  a  rush,  work- 
ing up  to  nine  o'clock  of  the  night  before  the  day  of  our 
departure  which  was  at  noon.  During  this  last  day  we 
shot  more  than  3,000  feet  of  scenes  that  could  not  be  cut 
from  the  pictures  under  any  circumstances,  with  two 
actors  who  did  not  accompany  us  to  America  but  remained 
in  Paris.  The  film  was  not  developed  until  we  reached 
New  York,  but  for  that  matter  we  were  so  busy  that  we 
had  been  working  three  weeks  in  Paris  before  we  viewed 
the  final  scenes  that  we  had  taken  on  the  Sahara. 


"YV7HEN  the  people  who  make  up 
your  audience  speak  of  "a 
good  picture"  you  can  be  sure  they 
mean  clear  cut,  brilliant  projection 
as  well  as  the  story  in  the  picture 
itself. 

Larger  audiences  mean  increased 
profits — and  both  follow  naturally 
when  you  give  these  folks  what 
they  want.    You  can  do  it  with  the 


BAUSCH  &  LOME 

Cinephor  Projection  System 

Cinephor  Projection  Lens 

Cinephor  Condenser 


Bausch  &  Lomb  Optical  Co. 

635  St.  Paul  St.,  Rochester,  N.  Y. 

New  York  Washington  Chicago 

San  Francisco       Boston       London 


TITLES 


ART  BACK 
GROUNDS 


DEBRIE  CAMERA 

And  Equipment 

AH  for  $500. 

ANDRE  BARLATIER 

American  Society  of  Cinematographers 


FOR  RENT 

Two  Bell  and  Howell  Cameras,  40,  50,  75  mm. 
lenses,  Thalhammer  iris.  Jean  Trebaol,  Jr.,  7042 
Stilson   Street,   Palms,   Calif.      Telephone  761-243. 


Twenty 


AMERICAN      CINEMATOGRAPHER 


June,  1924 


Filming  a 
Ghost  City 


Gold  Rush  Days  of  Twentieth 
Century    Leave    Deserted 
"Ghost  Cities"  in  their  Wake 


The  house  that  champagne  built — that  is,  champagne   bottles   which,  piled  like   bricks,   maybe 
noted  in  the  walls.  Hobbs,  the  star ;  Al  Davis,  director,  and  Vivian  Rich  inspecting  the  "bricks." 


An  interesting  account  of  the  "ghost  cities"  left  in  the 
wake  of  the  gold  rush  in  Nevada  is  told  by  Alois  Hei- 
merl,  A.  S.  C,  who  has  returned  to  Hollywood  after 
filming  an  Al  Davis  Production,  Al  Davis  directing,  at 
Rhyolite,  Nevada. 

Heimerl  explored  the  remains  of  the  ghost  city  in  the 
making  of  "Mavericks,"  which  Al  Davis  directed  from 
the  Saturday  Evening  Post  story  by  Carl  Clausen,  who 
tells  of  a  lone  prospector  who  waited  for  a  "come-back" 
of  the  dead  mining  town. 

"Rhyolite,"  Heimerl  explained,  "is  one  of  the  'ghost 
cities.'  It  sprang  into  existence  in  1904  and  struggled 
along  with  a  population  of  75  people  for  a  few  months. 
Then  a  rich  strike  was  made  after  which  prospectors 
poured  in  from  all  parts  of  the  world. 

"In  less  than  four  years  the  population  exceeded  55,- 
000.  At  the  present  time  there  is  one  lone  prospector 
living  there.  The  railroad  track  has  been  pulled  up  but 
the  depot  remains.      It  was  built  at  a  cost  of  $25,000. 

Desks    in    Original    Crates 
"The  schoolhouse  is  still  standing.    It  cost  more  than 
$20,000  to  build.     Some  of  the  members  of  the  company 


prowling  around  in  the  building  found  schooldesks  in  the 
basement  still  in  their  original  crates. 

"Part  of  the  story  takes  place  around  the  world  famous 
Shoshone  Mine  which  gave  out  over  ten  million  dollars 
w.orth  of  gold.  This  was  the  first  film  company  to  in- 
vade that  part  of  the  country. 

"Every  exterior  in  the  picture  has  never  been  photo- 
graphed before.  The  company  also  journeyed  to  Chlo- 
ride Cliff.  From  this  point,  the  highest  point  and  the 
lowest  point  in  the  United  States  were  photographed — 
namely,  Death  Valley,  212  feet  below  sea  level  and 
Mount  Whitney  14,985  feet  above.  This  is  incorporated 
in  one  shot — a  distance  of  82  miles. 

Signs  of  Former  Times 
"In  some  of  the  scenes  will  be  seen  Champagne  bottles 
bearing  the  date  of  1900.  The  town  is  in  ruins  and 
scattered  all  over  the  streets  were  found  beds,  stoves,  a 
coffin,  telegraph  poles,  beer  bottles  and  stock  certificates 
by  the  thousands.  There  is  a  house  built  entirely  of  bot- 
tles thrown  out  of  the  famous  '66'  saloon.  This  saloon 
employed  six  bartenders  working  on  eight  hour  shifts, 
24  hours  a  day.  The  owner  of  this  place  is  living  in 
Beatty,   Nev.,  where  the  company  was  staying.     He  in- 


June,  1924 


AMERICAN      CINEMATOGRAPHER 


Tiventy-one 


formed  us  that  it  was  impossible  to  clear  out  the  place 
and  the  barroom  was  only  swept  out  once  in  fifteen 
months." 

The  interiors  of  the  Davis  production  were  made  at 
the  Mayer-Schulberg  studios.  Besides  Davis  and 
Heimerl,  the  company  included  Vivian  Rich  and  Hay- 
ford  Hobbs,  co-stars;  Milton  Ross,  James  Williams,  as- 
sistant director,  and  C.  Glaize,  technical  director. 


CO-OPERATION  OF  THE  TECHNICAL 
DEPARTMENT 

(Continued  from  page  11) 
behind  them.     And  what  unnecessary  waste  has  resulted 
from  the  "over-ageing"  of  sets  through  a  too  liberal  use 
of  a  spray  gun. 

Should  it  be  necessary  for  the  technical  department  to 
be  instructed  as  to  what  construction  will  allow  shoot- 
ing and  what  will  not?  Granted  that  they  know  what 
the  action  is  to  be,  shouldn't  it  be  a  comparatively  ele- 
mentary matter  for  them  to  bring  about  construction  that 
is  photography-proof — if  they  really  know  their  busi- 
ness? And  doesn't  it  seem  fundamental  that,  in  order 
to  work  successfully  in  motion  pictures,  the  technical  de- 
partment should  know  just  what  can  be  photographed 
and  what  cannot  be  photographed? 

If  the  technical  department's  knowledge  is  not  specia- 
lized enough  to  include  a  recognition  of  all  ramifications 
which  go  to  make  up  production  economy  without  a  sac- 
rifice to  art  as  will  appear  in  the  finished  picture,  then 
why  don't  the  head  of  the  technical  department  consult 
the  cinematographer  as  to  photographic  possibilities  be- 
fore time  and  money  are  poured  into  a  set  that  must  ul- 
timately be  changed  because  it  will  not  allow  filming? 

There  is  no  excuse  for  the  wholesale  reconstruction  of 
sets.  If  the  technical  department  will  not,  from  within 
itself,  take  cognizance  of  the  possibilities  and  impos- 
sibilities of  lighting  and  photography,  then  it  should  be 
wise  enough  to  consult  some  one  who  knows,  and  that 
is  the  cinematographer. 


HEAT  PROTECTION  OF  MOTION  PICTURE 
FILM 

(Continued  from  page  15) 

Table    1 

Heat  Absorbing  Glass  2  mm.  thick 


Sample 

Visua 

r 

Total 

energy 

No. 

Trans. 

Abs.* 

Trans. 

Abs. 

1 

84% 

9% 

64% 

30% 

2 

83% 

10% 

50% 

46% 

3 

80% 

13% 

40% 

57% 

4 

80% 

13% 

37% 

60% 

5 

71% 

23% 

25% 

73% 

6 

60% 

35% 

14% 

85% 

*Corrected  for  surface  reflection  to  compare  actual  glass. 
Measures  made   with  200  watt  Type  C,  Mazda  Lamp. 

The  lighter  glasses  such  as  Nos.  1  and  2  would  be  of 
little  value  in  film  protection,  but  are  useful  in  spectacles. 
Nos.  3,  4,  5  and  6  would  be  effective  in  small  projection 
machines  with  a  thickness  of  2  mm.  With  higher  power 
lamps,  a  thickness  of  double  that  given  would  prove  very 
effective,  providing  some  means  were  devised  to  dispose 
of  the  absorbed  heat.  Otherwise,  re-radiation  would 
occur  and  the  film  would  be  heated. 

Another  type  of  protection  filter  is  a  thin  metallic 
film.  Here  we  have  both  absorption  and  surface  reflec- 
tion, the  relative  amounts  depending  upon  the  metal  used 
and  its  state.     This  metal  must  be  supported  by  something 


—from  India 


From 

D.  L.  MlSTRY, 

No.  4,  Nepean  Road,  Malabar 

Hill, 
Post  No.  6,  Bombay,  India. 
To 

American  Society  of  Cinema- 
tograph ers,  Inc. 
Los  Angeles,  Calif.,  U.  S.  A... 
Dear  Sir: 

I  am  in  receipt  of  your  letter  of 
22nd  January,  1924,  and  accord- 
ingly I  received  1 1  copies  of  the 
1923  American  Cinematographer. 
I  noted  about  the  missing  copy  of 
February,  1923.  I  have  not  re- 
ceived all  the  back  numbers  of  the 
American  Cinematographer. 

I  want  back  numbers  from  Oc- 
tober, 1921  to  December,  1922, 
also,  for  which  I  am  sending  $3.00 
by  postal  money  order,  and  kindly 
send  the  back  numbers  above  men- 
tioned, at  your  earliest  convenience 
and  oblige. 

.My  brother  and  I  are  receiving 
American  Cinematographer s  regu- 
larly at  present  and  kindly  let  me 
know  before  our  subscriptions  ex- 
pire, so  that  we  may  be  able  to  re- 
new the  same  in  time.  We  find 
your  journal  excellent  on  the  sub- 
ject. 

Apologising    for    troubling    you 
and  thanking  you  in  anticipation, 
Yours  most  sincerely, 

D.    L.    MlSTRY. 

From  India 

Bombay,  1st  April,  1924.. 


To   THE  AMERICAN   CINEMATOGRAPHER: 

Herewith  find  $3.00  to  pay  for  one  year's  subscrip- 
tion to  The  American  Cinematographer,  subscription 

to  begin  with  the  issue  of 192.... 

Name 

Address 


T<wenty-tiuo 


AMERICAN      CINEMATOGRAPHER 


June,  1924 


Roy  Davidge  Film  Laboratories 

NOW  LOCATED   AT 

6701  Santa  Monica  Blvd. 

(Opposite  Brulatour's) 

GREATLY   INCREASED   FACILITIES 

NEW    EQUIPMENT 

COMPLETE  COMMERCIAL  PROJECTION  ROOM 

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BASS 


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109-AC   North    Dearborn,   Chicago,   111. 


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Camera,  Tripods,  Improved  Thalhammer  Iris,  Six 
Magazines,  40  mm.,  50  mm.,  75  mm.  and  I  10  mm. 
Lenses,  also  Verito  75  mm.,  Carrying  Cases  and 
Trunk. 

Outfitted    to    Satisfy    the    Most    Exacting 

Right  price  and  right  terms  to  right  party. 

Call  J.  A.  Dubray,  615  North  Windsor  Blvd. 
Phone  433-305 

Los    Angeles 


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Holly  0819 

LIGHTING    EQUIPMENT    FOR   RENT 

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WIND    MACHINES  Water    Engine 


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Bell  &  Howell  Cameras 

COMPLETE  EQUIPMENT 

40,    50,    75    M.   M.   Lenses  170    Shutters 

J.  R.  LOCKWOOD 

523   North  Orange  St. 


Phone  Glendale  336  1 -W 


Glendale,  California 


transparent.  Pyrex  glass  is  good,  and  fused  quartz  is 
equally  good,  but  more  costly.  The  only  requirement  is 
that  the  support  stand  a  moderate  heat  without  danger 
of  breaking,  not  nearly  as  much  heat  as  with  Ferrous 
glass  absorbing  filters.  The  optical  properties  of  mas- 
sive metals  are  given  in  any  book  on  physical  optics,  also 
corresponding  results  for  certain  states  of  thin  or  diffused 
metals  were  worked  out  theoretically  by  Garnett  in  the 
Philosophical  Transactions  of  several  years  ago. 

The  films  of  interest  for  motion  picture  protection  are 
too  thin  to  be  treated  as  massive  metal  and  consequently 
we  have  wide  departures  from  mass  theory.  It  makes 
little  difference  how  the  thin  film  is  obtained,  optical  re- 
sults are  the  same  provided  the  same  physical  state  and 
the  same  degree  of  purity  exists.  The  most  uniform  films 
so  far  have  been  obtained  by  cathodic  deposition  in  a  high 
vacuum,  or  by  vaporization.  Usually  a  combination  of 
both  is  used  as  the  simplest  and  easiest  practical  method. 
Ceramic  paints  usually  give  spotty  results  and  often  pro- 
duce diffuse  films  of  widely  different  optical  properties. 

Many  metals  may  be  used  for  protection  purposes,  but 
copper  and  gold  are  the  most  promising,  with  gold  having 
the  preference  because  of  permanence  and  reproducti- 
bility. 

Somewhat  of  a  mean  between  the  radiant  efficiency 
and  the  true  efficiency  of  a  source  should  be  used  in  de- 
termining heating  effect  on  the  motion  picture  film.  As 
more  data  are  available  for  true  efficiency  (Ives,  Physi- 
cal Review,  1915)  this  will  be  quoted,  in  table  2  omit- 
ting the  last  figures  and  adding  watts  per  candle. 

Table  2 
Type  of  Illuminant  Lumens  Can.'s  Watts  per 

per  <w.  per  iv.   candle 
Yellow  flame,   Open  arc,   10   amp.  D.   C. 
Mazda  C,  600  watt,  20  amp.  0.5  w.  p.  c. 
Mazda  C,  500  watt,  multiple  0.7  w.  p.  c. 
Carbon   arc,   Open    arc,   9.6   amp. 
Tungston   Vacuum,    1.25   w.   p.   c. 

As  previously  stated,  the  measurements  of  the  energy 
transmissions  of  the  film  protection  glasses  were  made 
with  an  energy  spectrum  from  a  200  watt,  Mazda  C 
at  0.8  w.p.c.  which  corresponds  very  closely  to  the  500 
watt  of  0.7  w.p.c.  and  as  an  approximation  we  will  ap- 
ply filter  values  given  to  these  lamps  for  several  glasses 
and  gold  films,  starting  with  one  watt  of  energy  at  the 
source. 

Table  3 


4. 

3.6 

0.28 

20 

1.6 

0.6 

15 

1.2 

0.8 

12 

1.0 

1.0 

8 

0.7 

1.4 

Sample 

Watts 

Yellow 

Flame 

Mazdt 

i  600 

Mazda  500 

Carbon  Are 

Ferrous 

transmitted 

c.  p. 

cplw 

c.  p. 

cplw 

c.  p. 

cplw 

c.  p.     cplw 

3 

.40 

2.9 

7 

1.3 

3 

1.0 

2 

0.8         2 

6 

.14 

2.2 

16 

1.0 

7 

0.7 

5 

0.6          4 

Film 

20% 

.20 

1.9 

9 

0.9 

4 

0.6 

3 

0.5         2 

S% 

.05 

0.8 

16 

0.4 

8 

0.3 

6 

0.2         4 

This  table  (3)  gives,  first,  the  watts  (energy)  trans- 
mitted by  the  protection  filter  for  one  watt  initial  energy. 
This  first  column  (cp)  under  each  type  of  illuminate 
is  the  candle  power  per  watt  initial  energy;  this  always 
shows  a  loss,  as  unfortunately  all  these  filters  absorb 
some  visible  energy.  The  second  column  (cqfw)  gives 
the  candles  per  watt  of  energy  which  reaches  the  film, 
in  other  words  the  light  for  one  watt  energy  heating  ef- 
fect at  film. 

This  computation  is  only  approximate  and  is  an  indi- 
cation of  what  may  be  done  with  filters  and  the  future 
trend  of  development.  With  the  Mazda  C  lamp  prop- 
erly screened,  we  have  a  means  of  avoiding  the  heating  of 
the  films  as  well  as  if  we  had  a  black  body  radiating  at 
6000°C.  Therefore,  it  is  useless  to  try  to  run  a  lamp  at 
over  voltage  and  obtain  a  corresponding  protection. 


June,  1924 


AMERICAN      CINEM  ATOGRAPHER 


Tiuenty-three 


Heat  absorbing  glass,  No.  6,  gives  almost  as  satisfac- 
tory protection  as  a  5%  gold  film,  but,  expect  with  small 
sources,  it  very  soon  gets  entirely  too  hot  and  re-radiates 
heat.  The  film  reflects  the  heat  and  remains  fairly  cool. 
For  extreme  protection  a  heavy  gold  film  is  even  better 
than  the  5%  film  given.  Probably  with  increased  skill 
in  production  these  results  will  be  improved.  The  data 
here  given  are  the  ordinary  run  without  selecting  special- 
ly good  samples,  but  all  bad  samples  were  rejected  as 
usual. 

Note — There  are  three  patents  controlled  by  the  American 
Optical  Co.  covering  the  use  of  these  screens  for  motion  pic- 
ture  film    protection. 


SPROCKETS  AND  SPLICES 

( Continued  on  page  17) 


We  also  discovered  that  a  great  deal  of  our  damage 
was  due  to  the  splices  being  too  wide  to  conform  to  the 
periphery  of  the  sprockets  wheels,  and  the  wide  splices  that 
we  were  making  gave  too  much  leeway  in  cutting  the 
splices  within  the  limits  required  by  the  sprocket  wheels. 
We  therefore  changed  our  type  of  splicing  and  started 
making  the  splices  between  the  sprocket  holes,  which  at 
least  insured  us  that  the  splices  would  not  be  too  wide. 
We  soon  learned,  however,  that  the  projectionists  had 
all  learned  to  make  a  full  hole  snlice  and  it  was  the  only 
type  of  splice  considered  by  them,  strong  enough  to  pass 
the  projector  without  breaking,  and  in  view  of  the  fact 
that  managers  would  not  stand  for  breaks  during  projec- 
tion, the  projectionists  began  removing  all  of  our  splices 
and  making  the  full  hole  splice,  generally  very  wide, 
wider  than  our  original  splice,  and  the  use  of  too  much 
cement  caused  the  splices  to  invariably  buckle  and  when 
the  film  was  returned  to  the  exchange,  it  was  found  neces- 
sary to  remove  about  75%  of  the  projectionist's  splices. 
We  soon  learned  that  we  had  developed  a  splicing  battle 
between  the  inspectors  and  projectionists,  and  realizing 
that  the  only  two  people  actually  handling  the  film  were 
the  projectionists  and  inspectors,  we  decided  to  give  the 
projectionist  the  kind  of  splice  he  wanted,  so  we  went 
back  to  the  full  hole  splice  and  used  more  pains  and  care 
than  ever  before  in  keeping  the  splices  narrow.  We  found 
it  was  better  to  give  the  operator  the  splice  he  wanted 
than  it  was  to  be  continually  cutting  the  film  at  the  point 
of  splicing,  even  though  we  felt  that  it  was  not  the  proper 
kind  of  splice. 

In  the  meantime  the  laboratories  had  adopted  the  Bell 
&  Howell  Negative  Splicing  Machine,  which  made  a 
splice  about  l-32nd  of  an  inch  wide,  or  about  the  width  of 
the  frame  line.  The  laboratories  found  it  necessary  to 
keep  their  splices  narrow,  some  of  them  having  trouble  in 
printing  machines  with  hand  made  splices. 

These  splices  worked  so  well  in  negatives  that  someone 
had  the  happy  idea  that  they  would  be  good  for  positive, 
so  they  started  making  a  splice  in  the  positive  with  the 
Bell  &  Howell  machine,  and  almost  immediately  a  cry 
went  up  all  over  the  country  that  the  splices  were  all 
falling  apart.  A  quick  and  thorough  investigation  of  this 
<  proved  that  their  cry  was  well  founded,  and  that  the 
splices  were  not  sufficiently  wide  to  stand  up  under  pro- 
jection conditions.  But  the  splice  worked  so  well  in  the 
negative,  that  finally  certain  laboratories  asked  the  Bell 
&  Howell  people  to  adjust  their  machines  for  a  positive 


— from  one  who  knows, 

'he  Ultrastigmat-f:1.9 

"I  wish  to  say  that  I  have  never 
yet  come  across  a  similar  lens 
that  has  given  me  anything  like 
the  Speed  and  Quality  which  your 
Ultrastigmat  F:1.9  has  and  can- 
not   recommend   it    too   highly." 

Harry  G.  Mason 
New  York  City 
Circular  on  Request 


Gundlach-Manhattan  Optical  Co. 

900   Clinton      Ave.      South,      Rochester,     N.     Y. 


"  Ruo" 

the  New  Camera  Lens 
SPEED    2.5 

Focus  32,  35,  40,  50,  75 
and    100   millimeter 

ROBERT   ACKERSCHOTT 
1735    Hudson    Ave. 

Hollywood,    Cal. 

Importer  and  Agent  for 
the  U.   S.   A. 


Seldom  available,  A.  S.  C. 
members  are  always  in  de- 
mand for  every  phase  of  cin- 
ematographic work. 

A.  S.  C.  members  can  al- 
ways be  reached  by  telephon- 
ing HOllywood  4404  at  the 
headquarters  of  AMERICAN 
Society  of  Cinematqgraph- 
ers  at  1103  No.  El  Centro 
Avenue,  temporary  address 
until  completion  of  new  A.  S. 
C.  office  in  Guaranty  Build- 
ing, Hollywood. 


Tivenly-four 


AMERICAN      CINEM  ATOGRAPHER 


June,  1924 


WILLIAM  A.  JOHNSTON 

Editor — Motion  Picture  News 
(A  Recognized  Authority  on  Picture  Values) 

had  this  to  say  in  his  issue  of  April  12  (Page  1624) 


V1 

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•  ...    and  this  is  surely  pretty 

good  evidence  of  the  real  cooperation 
we  give  to  Cameramen  whose  good  judgment 
and  experience  justifies  their  choice  of — 


ROTHACKER-ALLER  LABORATORIES,  Inc. 


5515  MELROSE  AVE. 

— Hollywood  7180 


splice.  This  was  done  and  the  splice  then  made  in  this 
machine,  in  our  laboratories,  was  practically  the  same 
width  as  we  had  made  by  hand  in  our  exchanges,  but 
which  we  had  to  discontinue  for  reasons  already  given. 

During  all  of  this  investigation,  experiments  and  ed- 
ucation, we  learned  that  there  were  only  a  very  few  causes 
for  poor  splicing,  and  if  we  entirely  eliminated  these 
causes,  it  would  practically  eliminate  film  damage,  as  well 
as  greatly  improve  presentation  of  pictures  in  theatres. 

These  causes  can  be  readily  summed  up  as  follows: 

1 — Failure  to  entirely  remove  the  emulsion  from  the 
surface   of   the   splice. 

2 — Excess  scraping  of  celluloid  after  emulsion  had  been 
removed  making  the  base  too  thin. 

3 — Cement  in  bad  condition  causing  splices  to  come 
open. 

4 — The  use  of  too  much  cement  causing  splices  to 
buckle. 

5 — Imperfect  registration  of  the  sprocket  holes. 

We  eliminated  the  most  of  these  faults  by  various 
methods  and  devices  until  we  were  satisfied  that  we  had 
gone  as  far  as  was  humanly  possible  to  do  so,  in  the  man- 
ual splicing  of  films. 

And  about  this  time  the  Standard   Film  Laboratories 


of  Hollywood  got  the  Bell  &  Howell  people  to  adjust 
their  machines  so  that  they  would  make  a  full  hole  splice 
and  narrow  enough  to  conform  to  the  periphery  of 
sprocket  wheels,  as  the  standard  laboratories  had  learned 
exactly  as  I  had  learned,  that  the  wide  splice  was  bad, 
but  that  the  operators  desired  a  full  hole  splice,  and  it 
was  practically  impossible  to  make  this  splice  by  hand. 

After  installing  several  of  these  machines  I  closely 
watched  results  of  this  new  splice,  and  soon  found  these 
splices  were  standing  up  far  beyound  our  fondest  hopes, 
that  the  operators  were  accepting  them  and  were  not  cut- 
ting them  out,  and  our  films  were  not  receiving  anywhere 
near  the  amount  of  damage  they  had  been. 

We  recently  completed  a  60-day  test  of  the  Bell  & 
Howell  machine  in  one  of  our  exchanges  and  the  results 
were  so  satisfactory  that  it  in  now  only  a  question  of  time 
until  we  install  splicing  machines  in  all  of  our  exchanges. 

In  our  educational  work  and  inspection  of  inspectors, 
we  never  lost  sight  of  the  fire  hazard  and  did  everything 
in  our  power  to  keep  the  fire  hazard  in  our  exchanges 
down  to  a  minimum. 

Last  fall  I  made  a  one  reel  picture  showing  the  right 
and  wrong  way  of  splicing  and  handling  of  films  in  our 
exchanges,  and  we  are  of  the  opinion  that  the  picture  did 
more  to  educate  our  inspectors  in  the  proper  handling  of 
film,  than  anything  we  had  done  before. 


June,  1924 


AMERICAN      CINEMATOGRAPHER 


Twenty-five 


Until  the  Guaranty  Building  Opens 


Because  of  their  location  for  several  years  at  6372  Hollywood  Boulevard, 
the  American  Society  of  Cinematographers  are  still  receiving  communica- 
tions directed  to  the  latter  address. 


Attention  is  called  to  the  fact  that,  until  completion  of  A.  S.  C.  offices  in 
the  new  Guaranty  Building,  the  Society's  temporary  headquarters  are  at  1 103 
North  El  Centro  Avenue,  Hollywood. 


(Continued  from  page  10) 
graphy  and  make  the  camera  lens  see 
drama.    And  that  is  what  we  tried  to 
do  in  shot  after  shot. 

But  no  matter  how  much  drama  he 
must  have  in  his  stock  of  wares  the 
comedy  cinematographer  is,  after  all, 
essentially  a  trickster,  and  there  is 
scarcely  a  comedy  that  passes  that  he 
is  not  called  upon  to  run  the  gamut 
of  camera  intricacies.  And  never  does 
he  escape  the  element  of  personal 
danger.  Whenever  a  member  of  the 
cast  takes  his  life  into  his  hands,  then 
the  cinematographer,  you  may  be  as- 
sured whether  the  audience  realizes 
it  or  not,  is  taking  a  similar  chance. 
Every  comedy  cinematographer  knows 
this  and  can  prove  it  by  his  own  ex- 
periences. I  personally  can  bear  tes- 
timony to  the  statement  by  virtue  of 
the  seven  years  I  have  spent  with 
Harold  Lloyd — and  who  can  count 
the  narrow  escapes  that  this  star  has 


DRAMA  TREATMENT 

ENTERS  COMEDY 

PHOTOGRAPHY 


had  in  his  comedies  in  that  time ! 

"Safety  Last"  of  course  was  one 
succession  of  perils,  and  you  can  be 
assured  that  the  cinematographer  was 
immediately  present  in  all  of  the 
perils. 

Throughout  the  entire  shooting  of 
the  thrill  action  in  "Safety  Last," 
there  was  an  element  of  danger  not 
only  for  Lloyd  but  for  the  cinemato- 
grapher. In  the  scenes  showing  Lloyd 
as  a  "human  fly,"  climbing  up  the 
side  of  a  building,  the  Bank  of  Italy 
Building,  Los  Angeles,  was  used. 
This  building  is  twelve  stories  high. 
In  order  to  shoot  down  on  Lloyd  as 
he  was  ascending,  it  was  necessary  to 
erect  a  platform  that  projected  out 
over  the  street.  It  extended  some- 
thing like  ten  feet  beyond  the  building 


limit,  and  you  can  believe  me,  it  was 
quite  a  sensation  following  the  climb 
from  that  heighth. 

Although  in  seven  years  with 
Lloyd,  we  have  escaped  with  nothing 
more  than  minor  injuries,  we  believe 
it  is  only  because  the  fates  have  been 
kind  to  us.  We  had  a  very  narrow 
call  in  shooting  some  of  the  scenes  in 
"Girl  Shy"  when  Lloyd  drove  a  team 
of  lightning  fast  horses  down  the  main 
streets  of  Los  Angeles.  One  of  out 
shots  showed  the  galloping  horses  fly- 
ing clean  over  the  camera.  We 
mounted  the  camera  in  a  manhole  on 
Grand  Avenue.  Several  times  the 
scene  was  made  but  not  perfectly. 
The  last  time  we  attempted  it,  one 
of  the  horses  swerved  just  a  little  as 
it  approached  the  manhole,  and  it  was 
only  by  the  merest  of  chance  that  the 
camera  and  its  manipulator  escaped 
collision  with  flying  hoofs. 


Tiuenty-s'ix 


AMERICAN      CINEMATOGRAPHER 


June,  1924 


( amzv* 


Stephen  S.  Norton,  A.  S.  C,  is  filming  a  series  of 
comedy  dramas  for  Universal,  Jack  Dawn  directing. 
These  productions  are  practically  all  trick  Work,  using 
persons  and  clay  models  working  together  in  many  of  the 

scenes.     The  first  vehicle  of  the  series  is  as  yet  untitled. 

*  *     * 

Victor  Milner,  A.   S.  C,   has  finished  the  filming  of 

"The  Red  Lily,"  Fred  Niblo's  latest  production. 

*  *     * 

Reginald  Lyons,  A.  S.  C,  has  finished  shooting  "For- 
bidden Island"  at  the  Russell  Studios,  George  Holt  di- 
recting.    Carl  Miller  and  Jim  Mason  were  in  the  cast. 

James  Van  Trees,  A.  S.  C,  has  begun  the  filming  of 
"Single  Wives,"  an  eight  reel  First  National  production 
starring  Corrine  Griffith.  George  Archainbaud  is  di- 
recting. 

*  *     * 

George  Schneiderman,  A.  S.  C,  has  returned  to  Hol- 
lywood after  a  long  trip  in  Western  locations  for  the 
filming  of  an  important  forthcoming  Fox  feature  pro- 
duction. 

*  *     * 

John  Arnold,  A.  S.  C,  is  photographing  Hobart  Hen- 
ley's latest  production  for  Metro-Goldwyn-Mayer. 

*  *     * 

Andre  Barlatier,  A.  S.  C,  has  finished  the  filming  of 

a  Gorman  production   at  Goldwyn. 

*  *     * 

H.  Lyman  Broening,  A.  S.  C,  has  completed  "Being 
Respectable,"    a    Warner    Bros,    production    directed    by 

Phil  Rosen. 

*  *     * 

Joseph  Brotherton,  A.  S.  C,  is  fulfilling  a  busy  sche- 
dule  in    filming   current    Fox    productions. 

*  #     * 

Norbert  Brodin,  A.  S.  C,  is  shooting  Frank  Lloyd's 
latest  First  National  production.     Brodin's  work  in  "The 

Sea  Hawk"  is  bringing  him  praise  from  all  sides. 

*  *     *  , 

Karl  Brown,  A.  S.  C,  is  photographing  "Merton  of 

the  Movies,"  James  Cruze's  latest  feature  for  Paramount. 

*  *     * 

Al  Gilks,  A.  S.  C,  is  filming  "The  Female,"  Sam 
Wood    production    for    Paramount.      Betty    Compson    is 

starred. 

*  *     * 

Arthur  Edeson,  A.  S.  C,  will  photograph  "The  Lost 
World"  for  First  National. 

Tony  Gaudio,  A.  S.  C,  has  completed  the  cinemato- 
graphy in  John  M.  Stahl's  latest  production,  which  he 
photographed  by  special  arrangement  between  Louis  B. 
Mayer  and  Joseph  M.  Schenck,  producer  of  Norma  and 
Constance  Talmadge  features  for  which  Gaudio  is  chief 

cinematographer. 

*  *     * 

Frank  B.  Good,  A.  S.  C,  is  completing  the  camera 
work  on  the  latest  Jackie  Coogan  production. 


Bert  Glennon,  A.  S.  C,  has  completed  the  camera 
work  on  his  latest  Paramount  vehicle  co-directed  by 
Frank   Urson   and   Paul   Iribe   under  the  supervision  of 

Cecil  B.  De  Mille. 

*  *     * 

Ernest  Haller,  A.  S.  C,  will  film  "Potash  and  Perl- 
mutter  in  Hollywood,"  one  of  the  outstanding  produc- 
tions for  the  coming  season. 

Fred  Jackman  and  Homer  Scott,  both  A.  S.  C.  mem- 
bers, have  been  engaged  by  First  National  on  a  special 
assignment  for  some  intricate  cinematographic  undertak- 
ings. Though  a  successful  director,  Jackman  is  still  in 
demand   as  a  master  of   cinematographic  intricacies,   for 

which  he  is  famous  in  motion  picture  production  quarters. 

*  *.    * 

Robert  Kurrle,  A.  S.  C,  has  returned  from  a  location 
trip  with  Edwin  Carewe  with  whom  he  journeyed  to 
Northern  California  to  scout  locations  for  Carewe's  next 

production. 

*  *     * 

Kenneth  MacLean,  A.  S.  C,  is  shooting  Fox  produc- 
tions. MacLean  and  Philip  H.  Whitman,  A.  S.  C, 
were  associated   with  Arthur   Edeson,   A.   S.   C,   in   the 

filming  of  Douglas  Fairbanks'  "The  Thief  of  Bagdad." 

*  *     * 

Paul  P.  Perry,  A.  S.  C,  is  photographing  Jack  Pick- 
ford's  latest  production  at  the  Pickford-Fairbanks  studio. 

*  *     * 

Sol  Polito,  A.  S.  C,  is  photographing  "The  Siren  of 
Seville,"    a    Hunt    Stromberg    production    starring    Pris- 

cilla  Dean. 

*  *     * 

Bob  Doran,  A.  S.  C,  has  just  finished  the  filming  of 
Will  Rogers'  last  production  for  Hal  Roach  prior  to 
Rogers'  returning  to  New  York  and  the  Follies.  Doran 
is  now  photographing  "The  Spat  Family"  series  for  Hal 

Roach. 

*  *     * 

Floyd  Jackman,  A.  S.  C,  has  finished  filming  the  Hal 
Roach  feature  production,  "The  Up-State  Slicker"  a 
comedy  drama  directed  by  Ted  Wilde  and  Fred  Guiol, 
featuring  Glenn  Tryon  and  Blanche  Mehaffey. 


Howland  and  Dewey  Aides 

Explain  Kodascope  to  A.  S.  C. 

The  American  Society  of  Cinematographers^  open 
meeting  of  May  6  was  the  occasion  of  an  explanation  by 
Messrs.  Overton  and  Hurst,  of  Howland  and  Dewey 
Company,  of  the  operation  of  the  Eastman  Cine'  Kodak 
and  Kodascope. 

The  meeting  proved  one  of  the  most  interesting  of  the 
year.  Following  Mr.  Overton's  address,  a  general  dis- 
cussion took  place  relative  to  the  mechanical  details  of  the 
new   Eastman  creations. 


HOW  TO  LOCATE  MEMBERS  OF  THE 

AMERICAN 
SOCIETY    OF    CINEMATOGRAPHERS 

Phone  HOlly  44o4 
OFFICERS 


Gaetano  Gaudio 
Gilbert  Warrenton 
Karl  Brown 
Homer  A.  Scott 
Charles  J.  Van  Enger 
Victor   Milner 


President 

Vice-President 

Vice-President 

Vice-President 

Treasurer 

Secretary 


BOARD  OF  GOVERNORS 


Victor  Milner 

Philip  H.  Whitman 
James  C.  Van  Trees 
Frank  B.  Good 
H.  Lyman  Broening 


Homer  A.  Scott 
Fred  Jackman 

Charles  J.  Van  Enger 
Gaetano  Gaudio 
Gilbert  Warrenton 


King  D.  Gray 
Reginald  Lyons 
Paul  P.  Perry 
John  F.  Seitz 
Karl   Brown 


Abel,  David — with  Warner  Brothers. 

Arnold.  John — with  Metro-Goldwyn-Mayer  Picture  Corp. 
Barlatier,     Andre — with     Gorman.     Goldwyn     Studio. 
Barnes,  George  S. — with  Cosmopolitan,  New  York  City. 
Beckway,   Wm. — 
Benoit.    Georges — 
Broening,  H.  Lyman — 

Boyle.    John     \V. — Chief    cinematogr.ipher,       "Ben       Hur," 
Charles    Brabin,    director;     "Cines,"    Rome,    Italy. 


B 


-Frank  Lloyd  Productions,  First  National 


Goldwyn ; 

United 


din,  Norbert  F. 

Studios. 

Brotherton,    Joseph — with    Fox    Studio. 

Brown,    Karl — with    James    Cruze,    Famous-Players    Lasky. 
C.inn,    Bert — in    Europe. 

Clark.    Dan — with    Tom    Mix,    Fox    Studio. 
Corby,    Francis — with    Hamilton-White,    Fine   Arts    Studios. 
Cowling,    Herford    T. — Travel    Pictures,    Asia. 

Cronjager,    Henry — with    Famous-Players    Lasky,    New    York    City. 
Dean,    Faxon   M. — 

Djran,    Robert    S. — with    Hal    Roach   Studio. 
Dored,  John — Riga,  Latvia. 
Dubray.  Joseph  A. — 
DuPar,    E.    B. — with    Warner   Brothers. 
DuPont.   Max    B  — Tahiti. 

Edeson,    Arthur — with    Douglas     Fairbanks.    Fairbanks-Pickford    Studio. 
Evans,    Perry — 
Fildew,  Wm. — 

Fisher.    Ross  G. — with   A.   J.    Brown    Productions,   Russell   Studio. 
Gaudio,  Gaetano — with  Norma  Talmadge,  Joseph  Schenck  Productions. 

United   Studio. 
Gilks.  Alfred — with  Sam  Wood,  Famous  Players  Lasky. 
Glennon,    Bert — with    Cecil    B.    De    Mille,    Famous-Players    Lasky. 
Good,   Frank    B. — with  Jackie  Coogan.   Metro   Studio. 
Granville     Fred      L. — directing.        British        International        Corporation. 

Londo  i. 
Gray,    King    D. — 

Griffin,    Walter    L. — with    Fox    Studio. 
Guissart.    Rene — 
Haller.    Ernest — 

Heimerl,  Alois  G.— with  Al  Davis  Prods. 

Jackman,    Floyd — with    Fred    Jackman,    Hal    Roach    Studio. 
fackman,    Fred    W. — directing,    Hal    Roach    Studio, 
koenekamp,    Hans    F. — with    Larry   Semon. 
[villi ,    Edward — with    Universal    Studio. 


Kurrle,  Robert — with  Edwin  Carewe. 

Landers.    Sam — with    First    National,    United    Studio. 

Lockwood,    J.    R. — 

Lundin,    Walter — with    Harold    Lloyd    Prodactions,    Hollywood    Studios. 

Lyons,    Reginald    E. — 

MacLean,    Kenneth    G. — with    Fox    Studio. 

Marshall,    Wm.— 

Meehan.    George — with    Jack    White    Corporation,    Fine    Arts    Studio. 

Milner,  Victor — 

Morgan.  Ira  H. — with  Marion  Davies,  Cosmopolitan,  New  York  City. 

Newhard,    Robert    S. — with    Nell    Shipman    Productions,    Coolin,    Idaho. 

Norton,    Stephen    S. — with    Ince    Studio. 

Overbaugh,    Roy   F. — New    York   City. 

Palmer,    Ernest    S. — 

LePicard,  Marcel — New    York  City. 

Perry,    Harry — with  Tom   Forman. 

Perrv.  Paul  P. — with  lack  Pickford.  Pickford-Fairbanks  Studio. 

Polilo,    Sol— 

Ries,    Park    J.— 

Rizard,    Georges — 

Rose,  Jackson  J. — with  I  niversal. 

Rosher,    Charles — with    Mary    Pickford,    Pickford-Fairbanks    Studio. 

Schneiderman,    George — with   Fox    Studio. 

Scott.  Homer  A. — First  National.  United  Studios. 

Seitz,   John   F. — with   Rex   Ingram. 

Sharp,    Henr> with    Thomas    H.    Ince. 

Short,    Don — 

Smith,    Steve.    Jr. — with    Vitagraph    Studio. 
Steene,    E.    Burton — New    York    City. 
Stumar,    John — with    Universal    Studio. 
Stumar.    Charles — with   Universal    Studio. 

Tolhurst,    Louis    H. — "Secrets    of    Life."    Microscopic    Pictures.    Princi- 
pal   Pictures    Corporation. 

Totheroh,    Rollie   H. — with   Charlie   Chaplin,   Chaplin   Studio. 
Van    Buren,    Ned — New    York    City. 

Van  F.nger,  Charles — with  Ernst  Lubitsch,  Warner  Brothers. 
Van    Trees,    James    C. — with     fohn    Francis       Dillon.       First      National, 
United  Studios. 

Walters,     R.     W. — with    Mack    Sennett       Productions.       Mack       Sennett 

Studio. 
Warrenton,    Gilbert — with    Rupert   Julian,    Universal    City. 
Whitman,    Philip    H. — with    Cosmopolitan.    New    York    City. 
Wilky.  L.  Guy — with  William  de  Mille.  Famous  Players  Lasky. 


Edison,    Thomas    A. — Honorary    Member. 
Paley,    William    "Daddy" — Honorary    Member. 
Webb,    Arthur   C. — Attorney. 


Meetings    of    the    American    Society    of    Cinematographers    are    held    every   Monday   evening.    On    the 
the    "Pen    meeting    is    held;    and    on    the    second    and    the    fourth,   the    meeting    of    the    Boird 


first    -i rid    the    thi 
nf    Governors. 


d    Monday    of    each    montn 


LOYALTY 


PROGRESS 


ART 


^LJ495 


American 
CinematograpHer 

Published  by  the  American  Society  of  Ginematographers,  Inc. 


This  Month 
Filming  a  Tiger  Shoot 

By  Herford  Tynes  Cowling,  A.  S.  C. 

<JAn  intimate  story  of  how  a  camera  was  taken 
into  the  jungles  on  the  back  of  an  elephant 
and  the  royal  sport  of  India  photographed. 


PUBLISHED  IN      HOLLYWOOD     CALIFORNIA 


FIRST  NATIONAL  PRODUCTIONS,  Inc. 


5341  MELROSE  AVENUE 
LOS  ANGELES 


Eastern 


Offlc 


383  Madison  Ave. 
New  York 


June  20th,  1924 
Mr.  E.  0.  Blackburn, 
Rothacker-Aller  Laboratory, 
5515  Melrose  Ave. , 
Hollywood,  Calif. 

Dear  Mr.  Blackburn: 

I  don't  know  whether  it  has  come  to  your  attention 
during  the  production  of  "Single  Wives"  all  of  the  dailies 
were  perfect  in  printing  and  timing  with  the  exception  of  but 
four  short  scenes, which  were  reprinted.  Two  of  these  reprints 
were  made  at  our  request  merely  to  compare  densities  for  a 
particular  purpose  suggested  by  the  action. 

There  were  more  than  600  separate  and  individual 
scenes  photographed  during  the  production  of  "Single  Wives" 
and  to  me  it  stands  as  a  very  remarkable  record  and  tribute 
to  the  efficiency  of  the  Rothacker-Aller  Laboratory  that  your 
technical  staff  should  attain  absolute  perfection  in  results 
to  such  a  degree  over  a  period  of  weeks  with  such  a  number  of 
variations  in  lighting  and  densities. 

I  am  enclosing  an  order  for  a  master  print  of  "Single 
Wives"  to  be  made  before  the  negative  is  shipped  to  your 
Chicago  plant,  only  because  in  handling  and  running  the  film 
during  the  time  of  cutting  the  positive  print  has  of  course 
become  scratched  and  somewhat  dirty,  and  we  want  a  perfect 
and  new  print  at  the  earliest  possible  moment  for  local  pur- 
poses. 

Our  entire  technical  staff  on  "Single  Wives"  join 
in  this  note  of  appreciation  so  thoroughly  deserved  by  your 
entire  organization. 

Very  truly  yours, 


<^,>|JU^ 


EJH:ME 


Vol.  5 


JULY,   1924 


No.  4 


American 
Cinematographer 


Foster  Goss,  Editor  and  Business  Manager 
Board  of  Editors — Victor  Milner,  H.  Lyman  Broeninc,    Karl    Brown,    Philip    H.    Whitman 
Alfred  B.  Hitchins,  Ph.  D.,  F.  R.  P.  S.,  F.  R.  M.  S.,  F.  C.  S.,  Associate  Editor  and  New  York 
Representative,  33  West  60th  S  reet,  Room  602,  New  York  City 


Contents 

Page 

Consolidated  Studios  In  Intensive  Production 

4 

Filming  A  Tiger  Shoot — By  Herford  Tynes  Cowling,  A.  S. 

C.    5 

William  ("Daddy")  Paley  Crosses  the  Great  Divide 

8 

Cine  Camera  Taking  3200  Pictures  per  Minute    . 

Progress  in  Sending  Motion  Pictures  by  Radio — 

By  C.  Francis  Jenkins           ...... 

9 

The  Editors'  Lens 

10 

Twelve  Aces  in  Cinematographic  Profession 

12 

Wizards  in  the  Art  of  the  Camera  and  Lens 

13 

Taxing  Tools 

15 

S.  M.  P.  E.  Holds  Spring  Meeting 

20 

Synchronizing  Taking  and  Camera  Speeds    . 

21 

On  the  Uniform  Development  of  Cine  Film — 

By.  F.  F.  Renwick       ....... 

24 

In  Camerafornia 

25 

Releases 

26 

A.  S.  C.  Roster 

27 

An  educational   and  instructive  publication,  espousing  progress    and   art   in   motion   picture   photography. 

Published  monthly  by  THE  AMERICAN   SOCIETY    OF    CINEMATOGRAPHERS,    Inc. 
Subscription  terms:  United  States,  $3.00  a  year;  Canada,  $3.50  a  year;  foreign,  $4.00  a  year;  single  copies 

25  cents.     Advertising  rates  on  application. 
Hollywood,  California  Telephone  HOllywood  4404 

(Copyright,  1924,  by  The  American  Society  of  Cinematoaraphers,  Inc.) 


Four 


AMERICAN      CINEM  ATOGRAPHER 


July,  1924 


Consolidated  Studios  in   Intensive  Production 


M.-G.-M.  Combine  Busy  on 
Many  Productions  in  Prog- 
ress and  to  Be  Filmed. 

The  Metro-Goldwyn-Mayer  studios  have  completely 
recovered  from  the  excitement  following  the  consolidation 
of  the  three  organizations  and  the  huge  plant  in  Culver 
City  is  more  active  at  the  present  time  than  it  has  been 
for  several  years,  according  to  an  announcement  from 
Charles   R.   Condon,   publicity  director. 

Seven  feature  companies,  making  big  all-star  specials, 
are  now  working  at  the  studios ;  three  more  are  scheduled 
to  start  within  the  next  two  weeks,  and  the  remaining 
ten  units  will  get  under  way  very  soon. 

Mae  Murray  Finishing 

Mae  Murray  is  putting  the  finishing  touches  to  "Circe," 
her  new  starring  picture  which  Robert  Z.  Leonard  is 
directing.  This  story  was  written  especially  for  Miss 
Murray  by  Vincente  Blasco  Ibanez  and  the  supporting 
cast  includes  James  Kirkwood,  William  Haines,  Charles 
Gerard,  Thomas  Ricketts,  Gene  Caremon  and  Lillian 
Langdon. 

Seastrom  Begins 

Victor  Seastrom  started  production  this  week  on  "He 
Who  Gets  Slapped,"  adapted  by  Carey  Wilson  from 
Leonid  Andreyev's  play.  The  cast  for  this  widely  dis- 
cussed story  includes  Lon  Chaney,  Norma  Shearer,  John 
Gilbert,  Ford  Sterling,  Tully  Marshall,  Marc  McDer- 
mott,  Paulette  DuVal  and  Ruth  King. 

Vignola  Under  Way 

Robert  Vignola  has  selected  Pauline  Frederick,  Conrad 
Nagel,  Mae  Musch,  Huntly  Gordon,  Patterson  Dial  and 
Frank  Elliott  for  the  leading  parts  in  "Mrs.  Paramor," 
his  first  production  for  Metro-Goldwyn-Mayer.  Actual 
filming  of  "Mrs.  Paramor"  was  started  this  week.  The 
story  is  by  Louis  Joseph  Vance  and  Julia  Crawford  Ivers 
did  the  adaptation. 

Ballin  Starts 

The  first  scenes  of  Hugo  Ballin's  production  of  "The 
Prairie  Wife"  were  taken  this  week.  Dorothy  Devore, 
Herbert  Rawlinson  and  Gibson  Gowland  have  already 
been  engaged  for  parts  in  this  Arthur  Stringer  story  and 
several   other   prominent   players   are   to   be   added   later. 

New  Dog  Star 
Chester  Franklin  is  well  under  way  with  "The  Silent 
Accuser,"    the    novelty    production    which    will    feature 
Eleanor  Boardman,  Raymond  McKee,  Earl  Metcalf  and 
Peter  the  Great,  the  new  dog  discovery. 

Vidor  Near  Completion 

King  Vidor  expects  to  complete  "His  Hour,"  Elinor 
Glyn's  first  production  for  the  new  company,  within  the 
next  week.  The  cast  for  "His  Hour"  includes  Aileen 
Pringle,  John  Gilbert,  Dale  Fuller,  Jacqueline  Gadson, 
David  Mir,  Carrie  Clark  Ward,  Emily  Fitzroy  and 
others. 

Laurette  Taylor  Feature 

Laurette  Taylor  is  in  the  midst  of  "One  Night  in 
Rome,"  her  new  starring  picture  which  Clarence  G. 
Badger  is  directing.  Miss  Taylor  does  her  first  dramatic 
work  before  the  camera  in  this  adaptation  by  J.  Hartley 
Manners'  of  his  stage  success  of  the  same  title.     Her  two 


Many  Units  Photographing 
under  New  Arrangement 
Recently  Consummated. 

previous  pictures  have  been  comedy  dramas.  She  is  ably 
supported  in  "One  Night  in  Rome"  by  Tom  Moore,  Miss 
duPont,  Alan  Hale,  Joseph  Dowling,  Warner  Oland, 
William  Humphrey,  Brandon  Hurst,  Edna  Tichenor, 
Eugenie  Gilbert  and  others. 

Barker  Scouting  Locations 

Reginald  Barker  is  in  Arizona  at  the  present  time  with 
his  cameraman  Percy  Hilburn,  exploring  the  country  for 
locations  to  be  used  in  his  production  of  "The  Great 
Divide"  for  Metro-Goldwyn-Mayer.  Upon  his  return 
he  will  start  casting  for  this  famous  William  Vaughn 
Moody  play  which  Waldemar  Young  is  adapting  for  the 
screen. 

Bell  Preparing 

Monta  Bell  is  working  on  the  continuity  for  "The 
Snob,"  his  first  production  for  Metro-Goldwyn-Mayer. 
He  expects  to  start  production  in  about  three  weeks. 

von  Stroheim  On  Location 
Erich  von  Stroheim  is  taking  a  short  vacation  before 
starting  actual  plans  for  the  filming  of  "The  Merry 
Widow,"  in  which  Mae  Murray  will  be  starred.  This  is 
expected  to  be  one  of  the  outstanding  features  of  the 
coming  season  and  as  a  result  all  the  time  necessary  will 
be  taken  in  preparation. 

Henley's  Next 
Hobart  Henley  will  start  work  on  "So  This  Is  Mar- 
riage,"  an   original   story  by  Carey  Wilson,   within   the 
next  few  weeks. 

Hughes'   Two  Latest 
Rupert  Hughes  is  busily  engaged  in  preparing  for  the 
filming  of  "What  Will  People  Say?"  and  "Beauty,"  his 
two  new  stories  for  Metro-Goldwyn-Mayer  production. 

Niblo  to  Europe 

Fred  Niblo  with  his  wife  Enid  Bennett  is  on  his  way 
to  Europe  for  a  short  vacation.  Rex  Ingram  is  in  New 
York  resting  up  after  his  return  from  Tunis  where  "The 
Arab,"  his  newest  production  was  filmed.  Marshall  Neilan 
is  in  London  where  he  is  to  go  under  the  surgeon's  knife. 
His  next  production  will  be  "The  Sporting  Venus,"  by 
Gerald  Beaumont.  Frank  Borzage  will  start  on  his  first 
production  starring  Ramon  Novarro  as  soon  as  Novarro 
returns  from  the  East. 

According  to  the  present  plans  of  Louis  B.  Mayer,  vice- 
president  in  charge  of  production,  and  his  associates  Irving 
G.  Thalberg  and  Harry  Rapf,  the  Metro-Goldwyn- 
Mayer  studios  will  be  kept  working  to  capacity  con- 
tinuously. 


A  treat  is  in  store  for  delegates  sailing  on  the  Republic 
for  the  London  convention  of  the  Associated  Advertising 
Clubs  of  the  world.  Members  of  the  Chicago  Women's 
Advertising  Clubs  are  going  to  produce  a  burlesque  motion 
picture  the  third  day  out. 

The  actors  in  this  picture  will  be  costumed  to  represent 
leading  Chicago  firms  such  as  Marshall  Field,  Yellow 
Cab,  Swift,  Addressograph,  etc.  The  great  super-pro- 
duction will  be  directed  by  a  young  lady  costumed  to 
represent  the  Rothacker   Film  Company. 


July,  1924 


AMERICAN      CINEM  ATOGR  APHER 


Five 


I*  liming    Ct  By  HerfordTynes  Cowling,  A.S.C 

Tiger  Shoot 


Rights  to  publish  or  re-publish,  or  to  reprodu 
m    whole   or  in   part,   reserved  by   author. 


Tiger  Shooting  in  India  Is 
Privilege  that  Only  Few 
Sportsmen  May  Experience 


Were  it  not  for  the  game  shooting 
to  be  had  out  here  in  India  I  very 
much  doubt  if  the  British  Govern- 
ment could  keep  the  high  type  officers 
of  their  Military  and  Political  De- 
partments content  to  live  and  serve 
the  Empire  here.  British  military 
officers  have  always  been  keen  sports- 
men in  the  true  sense  of  the  word  and 
the  opportunity  to  make  shooting  trips 
into  the  hills  is  about  the  only  real 
sport  the  majority  can  look  forward 
to  from  leave  to  leave.  Not  all  are 
so  fortunate  as  to  be  stationed  near 
good  countries  for  this  sport  and  few 
indeed  are  those  stationed  in  real  good 
tiger  shooting  locations. 

CJ  Shooting  with  Elephants 
Very  Rare  Indeed. 
Shooting  tigers  in  the  long  grass 
and  jungle  country  of  the  Indian 
Tarai  is  one  of  the  best  sports  I  know. 
It  is  absolutely  essential  that  elephants 
be  used  both  for  driving  or  "ringing" 
as  it  is  called  and  to  afford  sufficient 
elevation  for  shooting.  It  would  be 
little  short  of  suicide  to  attempt 
"walking  up"  or  stalking  tigers  on 
foot,  in  long  grass  or  jungle  country 
where  it  is  impossible  to  see  more  than 
a  few  feet  ahead.     I  have  seen  three 


Hoix  the  camera  ivas  mounted  in  a  "hoivdah"  for  the  shoot.     Herjord 
Tynes  Coivling,  A.  S.  C,  at  the  camera. 


elephants  walk  along  beating  the  grass 
within  five  feet  of  a  full  grown  tiger 


A    number  of  "pads"  leaving   camp  for   scene   of  action. 


which  was  hiding  in  the  grass  and  not 
arouse  him  to  break  cover,  or  even 
know  he  was  there,  so  thick  was  the 
growth.  The  elephants  that  are  used 
to  shoot  from  are  mounted  with 
strong  wooden  "howdah's"  tightly 
fitted  and  roped  to  their  backs  like  a 
saddle.  The  howdah  being  a  rectang- 
ular box-shaped  affair  about  three  feet 
wide,  five  feet  long,  and  three  feet 
deep,  with  a  rather  comfortable  seat 
and  padded  gun  rests.  This  makes 
a  rather  cumbersome  steed  and  only 
slow  progress  can  be  made  through  the 
jungle  which  must  be  cut  away  by  the 
"Mahout"  or  broken  down  by  the 
elephant  as  it  advances. 

^  Dependent  On  Well  Trained 
Elephants. 

A  mahout  or  driver  is  located  on  the 
neck  of  each  elephant,  guiding  the 
beast  in  a  most  remarkable  manner 
either  by  wiggling  his  bare  feet  behind 
the  elephant's  ears  in  such  a  manner 
as  to  convey  his  command  of  speed 
and  direction,  or  by  banging  the  ele- 
phant over  the  head  with  a  heavy 
iron  spike.  This  spike  is  used  to  prod 
in  cases  where  it  is  deemed  necessary 


Six 


AMERICAN      CINEMATOGRAPHER 


July,  1924 


Top,  left:  Three  good 
ones  that  will  prey  on 
man   or   beast   no    more. 

Top,  right:  A  shooting 
" hoixdah"  •with  the  ele- 
phant kneeling  for  mount- 
ing. 

Right:  Beating  the  grass 
for  a  tiger.  Note  the 
heads  of  elephants  which 
are  being  formed  into  a 
circle. 


to  chastise  the  beast  or  incite  it  to 
quick  action.  It  has  a  sharp  hook  on 
one  side  for  more  severe  operations  on 
the  flaps  of  their  ears.  It  is  marvel- 
out  what  absolute  control  this  tiny 
man  has  over  such  an  enormous  bulky 
beast.  With  almost  human  intelli- 
gence and  without  a  spoken  work  the 
elephant  will  interpret  his  signal  to 
pull  down  a  limb,  push  over  a  whole 
tree  with  his  head  and  foot,  or  even 
pick  up  the  very  cudgel  from  the 
ground  which  the  mahout  has  acci- 
dently  dropped  only  to  be  promptly 
banged  over  the  head  with  for  some 
indiscretion. 

^An  Early  Respect  for  the 
Pachyderm. 

My  respect  for  an  elephant  began 
when  as  a  small  boy  in  Virginia  I 
helped  to  carry  water  for  the  circus 
elephants  in  return  for  a  free  pass  in 


the  "big  tent."  That  respect  has  ever 
increased  wherever  I  saw  an  elephant, 
whether  it  was  roaming  wild  in  the 
jungles  of  Africa  or  "piling  teak"  in 
the  forests  of  Upper  Burma.  But 
getting  back  to  the  tiger  shoot  and 
cumbersome  howdahs;  it  is  customary 
to  send  these  shooting  elephants  some- 
time in  advance  to  the  scene  of  a  "kill" 
— the  hunter  covering  the  distance  on 
"pad"  elephants  until  near  where  the 
tiger  is  supposed  to  be  hiding.  A  pad 
elephant  is  a  fast  walker,  with  a  sort 
of  miniature  mattress  fastened  on  its 
back  by  ropes,  and  used  for  a  seat 
while  travelling.  The  "pads"  cover 
six  miles  an  hour  easily  when  urged, 
and  save  the  hunter  much  time  wait- 
ing for  the  ring  to  be  formed. 

€f  Much  Organization  Required  in 
Planning  Shoot. 
Young  buffalo  calves  are  used  for 


bait  or  "kills."  In  our  camp  there 
were  seventy  baits  put  out  each  night 
within  a  radius  of  ten  miles.  The 
natives  visit  the  baits  at  daybreak  send- 
ing runners  to  report  any  "kills"  to- 
gether with  such  information  as  to 
the  tracks,  whether  leopard,  tiger, 
or  the  possible  number  of  either,  as 
sometimes  several  tigers  track  in  num- 
bers— often  a  tigress  with  two  grown 
cubs.  The  nature  of  the  country  sur- 
rounding the  kill  is  most  important 
and  is  considered  in  stalking  out  the 
baits.  Should  two  kills  be  reported, 
we  would  take  the  one  that  seemed 
the  most  feasible  for  ringing;  or  should 
the  reports  show  three  or  four  kills 
to  have  been  made,  the  start  would  be 
in  that  direction  bringing  two  or  more 
kills  nearest  to  visit;  while  natives 
would  be  posted  in  trees  to  report  the 
directions  taken  by  the  tiger  when  it 


July,  1924 


AMERICAN      CINEMATOGRAPHER 


Seven 


Cowling  with  one  he  bagged.     It  measured  nine  feet,  ten 
inches  and  is  considered  a  good  one. 


Cowling  en  route  to  shoot  on  a  "pad"  which  is  an  elephant 

that  is  used  because  of  its  speed  to  folloiu  up  its 

slower  brethern  sent  in  advance  to  ring  the  tiger. 


revisits  the  other  kills  in  the  afternoon 
as  they  are  sure  to  do.  Much  has 
been  said  by  way  of  criticising  this 
method  of  using  live  baits  for  sporting 
purposes.  Unlike  the  lion,  a  tiger 
will  rarely  ever  touch  a  dead  bait, 
even  leaving  its  own  "kill"  whenever 
suspicion  is  aroused.  And  while  it  is 
quite  true  that  the  sportsman  is  hunt- 
ing for  the  pleasure  of  the  sport,  his 
presence  is  welcomed  with  joy  by  the 
poor  harrassed  natives  who  must  any- 
way loose  their  stock  to  these  vicious 
carnivora  and  often  their  lives  when 
they  try  to  protect  their  stock.  When 
it  is  considered  that  each  tiger  will 
make  a  fresh  "kill"  every  night,  it  is 
rather  a  saving  in  live  stock  to  sacrifice 
one  buffalo  calf  to  get  the  tiger;  nor 
do  I  believe  that  the  baits  ever  suf- 
fer at  all,  but  meet  a  quick  death — one 
swift  spring  and  it  is  all  over.  The 
tiger  invariably  breaks  the  neck  of  its 
prey  by  twisting  the  head  as  the  body 
falls  from  the  first  spring.  Where- 
ever  tigers  abound  the  natives  will 
generally  offer  their  young  buffaloes 
calves  gladly  to  save  their  stock  from 
all  falling  prey  to  "stripes." 

After  a  tiger  has  killed  at  night  it 
may  or  may  not  eat  from  the  kill. 
Quite  often  and  especially  if  the  tiger 
is  not  hungry  it  will  leave  the  kill  for 
the  next  afternoon  meal.  More  often 
the  blood  is  sucked  and  a  small  portion 
of  the  "buttocks"  eaten;  after  which 
the  tiger  will  visit  the  nearest  water- 
hole  or  stream  to  drink.  It  then  seeks 
jungle  or  thick  grass  near  by  to  sleep 
through  the  forenoon  heat,  returning 
almost  invariably  to  its  kill  in  the  cool 
of  the  next  late  afternoon.  This  dis- 
position of  the  cat  family,  not  to  travel 
far  after  eating  a  good  meal  unless 


frightened  by  something,  and  being 
nocturnal,  sleeping  throughout  the 
day,  greatly  assists  the  hunter  to  locate 
his  quarry.  It  is  for  this  reason  that 
considerable  discretion  as  to  location 
should  be  used  in  staking  out  the  live 
baits.  There  has  been  considerable 
discussion  as  to  whether  or  not  a  tiger 
is  guided  by  a  sense  of  smell  in  loca- 
ting the  bait.  Some  professional  hunters 
say  not;  and  that  the  tiger  has  no 
developed  sense  of  smell.  I  disagree 
with  their  theory,  and  believe  this 
particular  branch  of  the  cat  family 
utilizes  a  sense  of  smell  in  locating  its 
food. 

CJ  Unlike  Hunting  Lions. 

Kills  having  been  reported  by  run- 
ners and  the  live  baits  taken  in  for 
food  and  water,  the  fun  then  begins. 
Howdah  and  beating  elephants  leave 
camp  at  once  while  the  hunters  snatch 
a  hasty  breakfast  and  follow  on  the 
fast  "pads."  Generally  when  we  arrive 
the  tiger  was  already  ringed.  This 
meant  that  having  arrived  on  the  scene 
with  about  forty  elephants  the  "Sub- 
edar"  in  charge  had  formed  his  ele- 
phants into  a  complete  circle  around 
the  section  in  which  the  tiger  is  sup- 
posed to  be  sleeping,  and  gradually 
close  in  until  the  ring  is  about  a 
quarter  of  a  mile  in  diameter.  More 
often  the  tiger  is  "jumped"  once  be- 
fore the  guns  arrive.  Now  here  again 
lies  a  striking  difference  between  the 
lion  and  the  tiger;  once  disturbed  a 
lion  will  be  "on  his  way."  He  might 
have  to  fight  his  way  out — but  out 
he  will  come  and  on  to  the  next  county 
at  no  little  speed.  But  a  tiger  believes 
in  hiding  and  trying  to  elude  his  pur- 
suers by  keeping  very  quiet.     Therein 


lies  his  downfall,  for  were  it  not  for 
this  peculiarity  it  would  be  practically 
impossible  to  hunt  tigers  in  the  long 
grass,  tiger-infested  parts  of  India. 
When  a  ring  is  drawn  the  hunters  are 
transferred  from  "pads"  to  shooting 
howdahs  while  the  grass  in  front  of 
each  "gun"  is  trampled  down  to  afford 
a  clearer  view.  Two  or  three  tuskers 
are  sent  into  the  ring  to  walk  around 
and  virtually  beat  the  tiger  out.  There 
may  be  two  or  three  tigers  in  the  ring, 
or  a  leopard,  and  always  no  end  of 
small  game  like  wild  pig,  deer,  and 
sometimes  bear  but  no  shooting  is  done 
except  at  the  leopards  and  tigers; 
everyone  holding  fire  for  the  prize 
game.  When  the  tiger  has  been  thor- 
oughly disturbed  and  is  convinced  that 
the  hunter  knows  it  is  there,  it  breaks 
cover  with  a  roar  rushing  the  circle, 
looking  for  a  chance  to  get  through 
the  line,  and  is  located  by  the  moving 
grass,  while  it  travels  at  no  little 
speed. 

•J  Snap  Shooting. 

The  elephants  are  seldom  less  than 
thirty  feet  apart  unless  it  is  an  unus- 
ually close  ring  so  the  tiger  has  plenty 
of  chance  to  break  throug,  but  is 
seldom  seen  more  than  20  yards  in  ad- 
vance of  shooting.  We  had  five  guns 
and  lost  only  one  tiger,  which  loss  was 
due  to  thick  jungle,  and  inability  to 
ring  the  tiger  again.  When  the  tiger 
breaks  through,  the  hunter  has  to  de- 
pend on  "snap"  shooting.  Elephants 
will  seldom  stand  still,  especially  if 
the  break  is  near  and  with  the  twist- 
ing, turning  and  trumpeting  of  your 
mount  it  requires  quick  shooting  to 
stop  a  tiger  that  breaks  directly  in 
front.  (Continued  on  Page  16) 


Eight 


AMERICAN      CINEMATOGRAPHER 


July,  1924 


William  [Daddy]  Paley  Crosses  Great  Divide 


Dean  of  Cinematographers 
Goes  to  Rest  After  Event- 
ful Career  in  the  Cinema. 


If 


Paley  Early  Associated  with 
Edison.  Made  Pictures  of 
Spanish-American  War. 


rJjjm 

- 

William  Paley 


A  legion  of  friends  are  mourning  the  death  of  William 
("Daddy")  Paley,  generally  recognized  as  the  first  pro- 
fessional motion  picture  cameraman  in  America  as  well  as 
the  dean  of  cinematographers,  who  passed  away  in  Los 
Angeles,  Saturday,  May  31.  Funeral  services  for  the 
veteran  among  veterans  were  held  at  the  Church  of  Our 
Mary  of  the  Angels,  Tuesday  morning,  elevn  o'clock, 
June  third,  the  Rev.  Neal  Dodd  officiating. 

Alois  Heimerl,  Victor  Milner,  William  Fildew,  all 
A.  S.  C.  members,  and  brother  Masons  of  Mr.  Paley  were 
pallbearers.  Interment  was  in  the  Forest  Lawn  Cemetery, 
Glendale,  California.  Mr.  Paley  was  an  honorary  mem- 
ber of  the  American  Society  of  Cinematographers,  having 
been  so  elected  on  November  14th,  1921,  in  recognition 
of  his  services  and  contributions  to  the  cinematographic 
profession.  "Daddy's"  death  leaves  Thomas  A.  Edison  as 
the  only  honorary  member  of  the  A.  S.  C. 

William  Paley  was  born  at  Boston,  Lincolnshire,  Eng- 
land, March  1,  1857.  He  was  educated  at  the  famous 
South  Kensington  Museum,  and  took  his  first  picture 
when  he  was  only  ten  years  of  age.     It  was  a  tin-type. 

He  left  South  Kensington  to  enter  the  English  secret 


service  and  served  two  years  at  Scotland  Yard ;  but 
America  and  art  called  him,  and  on  October  22,  1878,  he 
landed  in  New  York  intending  to  open  a  photographic 
studio,  but  almost  immediately  he  joined  the  Automatic 
Photograph  Company,  under  the  management  of  B.  J. 
Falk,  and  for  several  years  was  superintendent  of  the 
plant  which  he  developed  into  the  largest  in  the  world. 
Among  his  achievements  was  the  invention  of  a  printing 
and  developing  machine  with  a  capacity  of  100,000  fin- 
ished cabinet  size  photographs  every  ten  hours,  and  the 
machine  ran  to  capacity  production  daily  for  years,  the 
output  being  contracted  for  by  the  American  Tobacco 
Company  and  other  large  concerns,  which  gave  them  away 
as  prizes. 

It  was  not  until  1892  that  Mr.  Paley  began  to  experi- 
ment with  motion  pictures.  He  was  the  first  man  in 
America  to  take  an  interest  in  the  investigation  of  the 
French  and  English  pioneers  along  these  lines,  and  by 
1894  he  had  perfected  a  motion  camera  which  turned  out 
to  be  the  first  ever  used  in  war  or  for  news  film  service. 

About  this  time  he  became  acquainted  with  Thomas  A. 
Edison,  who  had  made  exhaustive  research  along  the 
(Continued  on  Page  16) 


July,  1924 


AMERICAN      CINEMATOGRAPHER 


Nine 


Cine  Camera  Taking  3200  Pictures  Per  Minute 
Progress  in  Sending  Motion  Pictures  by  Radio 


From  Transactions,   Society 
of  Motion  Picture  Engineers 


By  C.  Francis  Jenkins 


Inventor  Gives  Information 
on  His  Latest  Creations. 


PERHAPS  the  progress  which  has  been  made  in  the 
perfection  of  the  high  speed  camera  which  the  writer 
brought  to  the  attention  of  the  Society  at  the  Buffalo 
Meeting,  October,  1921,  might  be  interesting  to  you  as 
engineers,  as  it  points  out  the  unique  character  of  the 
instrument  now  available  for  the  study  of  unusually  high 
speed  motions. 

Pictures  are  now  regularly  made  at  the  rate  of  3200 
photographs  per  second,  that  is,  200  times  standard  (16 
pictures  per  second)  motion  picture  speed.  In  the  study 
of  high  speed  motion  it  is  comparable  to  a  microscope  of 
200  diameter  power  in  the  study  of  small  objects.  Speeds 
still  higher  are  believed  feasible,  but  perhaps  not  often 
required. 

No  radical  modifications  in  the  camera  have  been  made 
in  the  past  two  years  in  order  to  regularly  attain  this 
high  speed. 

The  lens  carrier  now  contains  48  matched  lenses.  This 
matching  we  had  to  do  ourselves  after  the  lenses  were 
received  from  the  manufacturers.  It  is  a  tedious  job,  but 
can  be  done  if  one  is  patient  and  resourceful. 

The  other  difficult  problem  was  mounting  them  so  as  to 
get  absolutely  steady  pictures  on  the  screen  when  prints 
were  made  from  the  negatives.  No  machine  shop  tool 
was  found  which  gave  the  requisite  degree  of  accuracy, 
so  a  special  method  had  to  be  worked  out  therefor. 

The  camera  has  been  made  very  rugged,  and  is  driven 
with  a  battery  motor  which  permits  carrying  the  camera 
into  the  field  beyond  the  reach  of  city  power  current. 

We  still  continue  to  employ  a  loop  in  the  film  to  insure 
flatness  at  the  picture  exposure  aperture.  Friction  tension 
is  absolutely  out  of  the  question.  It  has  been  found  neces- 
sary to  continue  the  lubrication  of  the  film,  but  this  is 
easily  and  automatically  done  by  the  use  of  a  small  paraf- 
fine  block,  and  requires  no  attention. 

Subjects  for  study  of  which  this  camera  is  particularly 
adapted  will  readily  suggest  themselves  to  you.  The 
subjects  we  have  already  photographed  range  from  simple 
to  more  complex  ones.  Most  of  the  surprises  have  been 
found  in  the  simplest  subjects. 

In  photographing  a  little  girl  skipping  a  rope,  it  was 
discovered  that  the  loop  end  of  the  rope  after  it  dragged 
under  her  feet  accelerated  much  faster  than  any  other 
part  of  the  rope,  so  that  the  loop  end  actually  reached  a 
vertical  position  above  her  head  well  in  advance  of  any 
other  part  of  the  rope.  No  plausible  explanation  of  this 
has  yet  been  proposed  by  any  of  those  who  have  seen  these 
pictures. 

The  test  film  made  of  the  airplane  propeller  turning 
over  1600  R.P.M  (wholly  invisible  to  the  eye,  of  course) 
was  the  subject  that  sold  one  of  these  cameras  to  the  Air 
Service  of  a  foreign  nation. 

Perhaps   the   most   interesting  subject  was   the   photo- 
graphing (at  3200  exposures  per  second)  of  pigeons  wings 
when  the  pigeons  were  released  from  a  basket.     It  is  a 
classic.     The  wings  touch  both  above  and  below  the  body 
(Continued  on  page  19) 


SINCE  the  presentation  at  the  Atlantic  City  Meeting 
of  the  methods  and  apparatus  employed  in  the  trans- 
mission and  reception  of  photographic  images  by 
radio,  development  has  progressed  quite  satisfactorily.  The 
quality  of  the  reception  has  been  raised,  while  the  time 
required  for  the  transmission  of  photographs  has  been  re- 
duced to  less  than  a  minute. 

This  higher  degree  in  the  quality  of  the  picture  has  come 
from  the  adoption  of  a  special  lamp,  made  available 
through  the  belief  in  our  ultimate  success  by  the  president 
of  the  Society  of  Motion  Picture  Engineers,  Mr.  L.  C. 
Porter,  for  he  had  the  lamps  made  for  us  by  the  General 
Electric  Company,  Harrison  Lamp  Works,  and  I  feel  that 
he  believes  his  confidence  has  been  justified. 

A  hundred  lines  per  inch  has  been  found  quite  sufficient 
for  all  classes  of  pictures;  and  fifty  lines  per  inch  adequate 
for  most.  By  judicious  selection  of  the  lamp  and  its  care- 
ful location,  and  the  adjustment  of  other  associate  parts 
of  the  radio  camera,  a  very  satisfactory  50-line  portrait 
can  be  obtained  in  less  than  half  the  time  required  by  the 
100-line  setting. 

Radio  Photo  Messages 

The  speed  of  message  transmission  by  this  same  radio- 
photo  process  is  about  ten  seconds  per  message.  When  a 
special  lamp,  now  being  developed,  is  available,  it  is  be- 
lieved a  complete  100-word  message  can  be  sent  every 
second.  The  messages  will  be  put  on  a  long,  rather  wide 
band,  in  a  series  of  25  messages  to  each  band,  and  this 
moved  through  the  sending  machine,  in  such  fashion  that 
one  complete  message  is  sent  every  second.  A  photo-paper 
band  at  the  receiving  end  will  be  provided,  and  synchron- 
ously moved  one  step  every  second.  Upon  this  band  the 
25-group  of  messages  will  be  photographed. 

Japanese  Characters  by  Radio 
In  this  connection  it  might  be  mentioned  that,  for  the 
first  time  in  history,   Chinese  and  Japanese  messages  in 
native  characters  can  be  transmitted  by  radio.     Military 
officers  stationed  at  the  Japanese  Embassy  in  Washington 
express  their  belief  in  the  great  value  of  this  method  for 
official  communication  by  their  government. 
Radio  Vision 
Speeding  up  the  apparatus  to  16  pictures  per  second  has 
given  us  radio  vision,  as  a  laboratory  demonstration,  al- 
though the  few  lines  per  inch  so  far  attempted   give  us 
but   a   crude   picture,    a   picture   which    is   unmistakable, 
however. 

The  present  method  of  getting  the  necessary  speed  is  by 
mounting  a  series  of  lenses  on  the  back  of  a  prismatic  ring. 
To  attain  the  necessary  speed  in  simpler  mechanism  we 
are  making  the  prismatic  ring  in  four  section  to  be  used 
without  the  multiple  lenses.  This  gives  us  twice  as  many 
lines  per  inch  as  when  a  double  prism  ring  is  used,  and 
four  times  as  many  lines  as  with  a  single  prism  ring.  I 
think  still  more  prisms  to  each  ring  can  be  made,  but 
this  has  not  yet  been  undertaken. 

(Continued  on  page  18) 


Ten  AMERICAN      CINEMATOGRAPHER  July,  1924 


The  Editors'  Lens  -  -  -  f°cused  h  Foster  Goss 


IjjWhat  the  motion  picture  business,  as  an  industry,  means  to  Los 
Angeles  and  Southern  California,  is  indicated  in  the  following 
article  which  appeared  recently  in  the  Illustrated  Daily  News, 
Los  Angeles.  The  analysis  is  especially  interesting  in  view 
of  the  recent  declaration  by  Richard  Rowland  that  forthcoming 
First  National  productions  would  be  centered  in  New  York  City 

instead  of  in  Los  Angeles. 

• 

The  article  reads: 

l][  There  are  many  well-informed  analysts  of  Southern 
California  affairs  who  in  enumerating  the  contribut- 
ing causes  of  Los  Angeles'  great  increase  in  population 
during  the  last  decade  give  first  place  to  motion 
pictures. 

CjJThis  is  not  merely  because  the  industry,  although  the 
largest  in  the  city,  has  attracted  workers  here,  but  for 
the  reason  that  virtually  every  man,  woman  and  child 
in  the  United  States  and  millions  in  other  lands  have 
had  the  opportunity  of  observing  the  advantages  of 
Los  Angeles  on  the  silver  sheet. 

CjJThe  picture-producing  companies  came  here  because 
of  the  conditions  favorable  to  outdoor  scenes  and  nat- 
urally chose  the  most  picturesque  settings  for  their 
works. 

CJflt  requires  no  great  stretch  of  the  imagination  to  con- 
nect such  pictures,  shown  in  a  snow-surrounded  theatre 
of  the  East  or  Middle  West,  with  the  great  trek  to  Los 
Angeles  now  under  way. 

IJ  Certainly  the  marvelous  population  growth  has  been 
co-incident  with  the  rise  of  the  motion  picture  industry 
here.  It  was  in  November,  1911,  that  the  first  studio 
was  opened  in  Hollywood.  There  are  now  more  than 
fifty,  employing  over  15,000  persons.  The  chamber 
of  commerce  figures  for  1922  show  that  the  producing 
companies  had  an  invested  capital  of  $30,000,000,  a 
weekly  payroll  of  $1,000,000  and  an  annual  produc- 
tion value  of  $156,000,000.  The  production  value  of 
petroleum  industry,  next  largest  was  $135,271,425. 


July,  1924  AMERICAN      CINEMATOGRAPHER  Eleven 


CJThe  film  companies,  besides  working  at  the  huge  "sets" 
in  their  studios,  utilize  city  streets  and  parks  and  travel 
from  50  to  500  miles  away  for  mountain,  snow  and 
desert  scenes. 

AUXILIARY  CAMERAS 

IJ  Attention  is  called  to  the  fact  that  it  is  believed  that  the  supposi- 
sition  is  arising  that  first  cinematographers  who  are  called  in 
for  an  extra  day's  work  or  so  are  being  looked  upon  as  not  being 
of  first  rank  ability. 

(fl Nothing  could  be  farther  from  the  truth.  Generally,  the  action 
that  is  to  be  shot  by  the  extra  cameras  is  of  more  than  ordinary 
importance  or  the  extra  camera  would  not  be  brought  into  service 
in  the  first  place.  Therefore,  those  who  are  in  charge  of  sumon- 
ning  the  extra  cameras  are  sure  to  call  cinematographers  of  rec- 
ognized reliability — and  that  means  first  class  men,  not  those  of 
ordinary  ability. 

C[[  Naturally,  the  chief  cinematographer  on  the  production  to  which 
the  extra  cinematographers  have  been  added  is  in  command  of 
the  material  that  they  shoot.  It  is  his  production,  photograph- 
ically, and  he  is  responsible  for  its  cinematographic  phases.  It 
is  natural,  also,  that  the  cinematographer  in  charge  will  find  it 
necessary  to  designate  the  various  angles  and  the  different  ways 
in  which  he  wants  the  action  treated — but  because  his  fellow 
cinematographers  understand  the  doctrine  of  co-operation  and 
efficiency  enough  to  promptly  and  scrupulously  carry  out  his 
orders  is  no  indication  that  they  themselves  are  not  capable  of 
handling  a  similar  set  were  it  their  own  production. 

Cfl  As  a  matter  of  fact,  the  cinematographer  who  needs  extra  cameras 
wants  the  best  available,  even  if  those  men  are  regularly  assigned 
to  other  units  as  chief  cinematographers.  Conversely,  the  man 
who  requires  extra  cinematographers,  especially  if  he  is  under 
contract  with  a  large  organization,  very  often  serves,  in  a  simi- 
lar capacity,  some  one  whom  he  has  called  for  extra  set-up. 

©  So    the   auxiliary   camera    does    not   mean    an    inferior    cinema- 
tographer.    He  must  be  first-class,  else  he  wouldn't  be  entrusted 
with  an  extra — and  important — set-up. 


Twelve 


AMERICAN      CINEMATOGRAPHER 


July,  1924 


Twelve   Aces   in  Cinematographic   Profession 


Victor  Milner,  who  gathers  fresh 
laurels  unto  himself  by  virtue  of 
his  work  in  Fred  Niblo's  produc- 
tion" Thy  Name  Is  Woman"  and 
"The  Red  Lily."  Vic  is  a  hard 
worker. 


Charles  Stumar,  with  whom  giv- 
ing production  photographic  sup- 
eriority has  become  a  habit. 
Stumar's  Universal  pictures  of 
the  past  several  seasons  attest  to 
this. 


George  Benoit,  who  has  such 
productions  as  Richard  Walton 
Tully's  "Omar  the  Tentmaker" 
and  "The  Masquerader"  to  at- 
test to  his  never  failing  genius 
as  a  cinematographer. 


Sol  Polito,  who  is  being  praised 
for  his  work  in  John  Stahl's 
"Why  Men  Leave  Home."  Sol 
is  shooting  Hunt  Stromberg's 
"The  Siren  of  Seville, "starring 
Priscilla  Dean. 


Joseph  A.  Dubray,  who  has  in- 
numerable artistic  triumphs  to 
his  credit,  not  the  least  of  which 
is  "Kismet,"  starring  Otis  Skin- 
ner. Dubray  is  a  deep  student 
of  the  cinematographic  art. 


Reginald  Lyons,  who  turned  to 
his  first  love — Vitagraph — to 
film  J.  Stuart  Blackton's  pro- 
duction of  Robert  W.  Chambers' 
"Between  Friends"  which  is  soon 
due  for  general  release. 


July,  1924 


AMERICAN      CINEMATOGRAPHER 


Thirteen 


Wizards  in  the  Art  of  the  Camera  and  Lens 


Louis  Tolhurst,  who  is  patiently 
enriching  the  cinema  and  science 
with  his  remarkable  delvings  in- 
to the  realm  of  the  infinitesimal 
with  his  microscopic-cinemato- 
graphic researches. 


John  Boyle,  who  has  turned  out 
gems  of  excellence  like  Hergis- 
heimer's  "Wild  Oranges,"  di- 
rected by  King  Vidor.  Boyle  is 
a  big-leaguer  in  the  motion  pic- 
ture profession. 


Park  Ries,  who  has  made  the  leg- 
end "photographed  by  Park  Ries" 
a  stand-by  during  his  long  and 
efficient  association  in  the  film- 
ing of  motion  pictures  from  the 
earliest  days. 


Bert  Glennon,  who  has  repeated 
with  success  after  success,  includ- 
ing George  Melford's  "Ebb 
Tide,"  "Java  Head,"  etc.,  and 
more  lately,  Cecil  B.  De  Mille's 
"The   Ten   Commandments." 


Robert  Kurrle,  who,  a  master  in 
his  profession,  recently  finished 
"A  Son  of  the  Sahara"  and  is 
now  busy  with  Carewe's  "Ma- 
donna of  the  Streets,"  starring 
Nazimova  and  Milton  Sills. 


Charles  van  Enger,  who  photo- 
graphed "The  Christian,"  Monta 
Bell's  "Broadway  After  Dark," 
Lubitsch's  "The  Marriage  Cir- 
cle" and  who  has  just  finished 
that  director's  "Three  Women." 


Fourteen  AMERICAN      CINEMATOGRAPHER  July,  1924 


EASTMAN 
POSITIVE  FILM 

With  Eastman  Positive  Film  you  are 
sure  of  one  factor  that  contributes 
to  each  picture's  success — you  know 
that  the  positive  carries  through  to 
the  screen  the  photographic  quality 
of  the  negative. 


Look  in  the  film  margin  for  the 
black  lettered  identification, 
"Eastman"  "Kodak." 


EASTMAN   KODAK    COMPANY 

ROCHESTER,   N.   Y. 


July    1924  AMERICAN      CINEMATOGRAPHER  Fifttin 


Taxing  Tools 


While  apparently  little  or  nothing  has  been  done  in  Washington 
to  alleviate  the  tax  on  cameras  and  lenses,  the  cinematographers' 
interest  in  the  matter  has  not  been  confined  to  Hollywood  produc- 
tion quarters  but  has  extended  half-way  around  the  world  as  indic- 
ated by  a  copy  of  a  letter  which,  just  received  by  the  American 
Society  of  Cinematographers,  was  sent  from  Bombay  by  Herford 
Tynes  Cowling,  A.  S.  C,  to  the  chairman  of  the  Ways  and  Means 
Committee. 

The  Chairman  of  the  Ways  and  Means  Committee, 
House  of  Representatives, 
Washington,  D.  C. 

Dear  Sir: 

Please  permit  me  to  call  your  attention  to  the  existing  War 
Tax  on  Professional  Photographic  Cameras  and  Lenses  which  are 
of  American  or  Foreign  manufacture.  I  am  particularly  interested 
in  calling  to  your  attention  the  tax  on  moving  picture  cameras  which 
are  used  almost  exclusively  for  professional  work.  This  tax  is  a 
burden  on  the  cinematographers  which  does  not  exist  on  other  such 
Professional  workers  and  certainly  should  be  repealed. 

When  the  moving  picture  Camera  is  taxed,  a  tool  of  trade 
and  direct  means  of  making  a  living  is  taxed.  To  tax  the  purchase 
of  a  moving  picture  camera  for  professional  use  is  much  the  same 
as  taxing  a  Carpenter  on  his  tools,  a  Stenographer  on  his  typewriter 
or  a  Surveyor  on  his  compass.  Like  the  Engineer,  the  dentist  or 
the  doctor,  a  Cinematographer  must  purchase  his  own  "tools"  if  he 
is  to  hold  his  clients. 

At  the  same  time,  when  this  law  was  passed  there  was  no 
existing  organization  of  the  American  Cinematographers  to  give 
their  attention  to  this  matter.  We  have  now  an  organization  known 
as  The  American  Society  of  Cinematographers;  we  recently  passed 
a  resolution  requesting  the  repeal  of  this  tax  of  which  you  are  prob- 
ably cognizant. 

I  suggest  that  an  amendment  be  made  to  this  law  which  will 
repeal  the  burden  on  our  tool  of  trade  and  at  the  same  time  not 
remove  the  tax  on  a  luxury. 

I  sincerely  trust  that  your  Committee  will  give  this  matter 
due  consideration. 

Yours  faithfully, 

H.  T.  Cowling. 

Address — in  care  Messrs.  Kodak  Limited,  "Hornby  Road"  Bombay. 


Sixteen 


AMERICAN      CINEMATOGRAPHER 


July,  1924 


Imagine  what  a  job  it  was  with  my 
camera  mounted  on  the  tripod,  set 
up  in  a  howdah  on  the  back  of  an  ele- 
phant. I  could  maintain  a  fair  level 
for  filming  the  operations  of  ringing 
etc.  but  as  soon  as  my  elephant  located 
the  tiger,  which  was  always  before  I 
did,  he  started  turning  and  twisting. 
One  moment  I  had  the  moving  grass 
on  the  finder,  and  the  next  I  would 
be  "shooting"  directly  up  to  the  sky. 
During  the  last  part  of  the  shoot  they 
gave  me  an  old  elephant  that  was 
totally  blind,  with  which  I  had  con- 
siderably more  luck. 

When  a  tiger  once  breaks  the  ring 
whether  hit  or  not  it  will  travel  about 
two  or  three  hundred  yards  and  then 
lie  low  again.  A  number  of  the  ele- 
phants from  opposite  sides  break  away 
and  immediately  start  ringing  him 
again,  while  the  shoot  continues  in 
the  same  ring  to  see  if  there  are  more 
tigers.  Once  we  had  three  rings  go- 
ing at  the  same  time,  each  with  a  good 
tiger  inclosed  and  we  got  them  all. 
It  was  a  regular  three  ring  circus 
full  of  fun  and  excitement. 

^Not   Without  Its  Danger. 

As  to  the  element  of  danger,  it  is 
small.  I  actually  believe  that  in  this 
kind  of  shooting  there  is  infinitely 
more  danger  of  being  shot  by  a  fellow 
"shootist"on  the  opposite  side  of  the 
ring,  or  a  ricochet  bullet  from  a  stone 
than  there  is  of  a  tiger  climbing  into 
one's  howdah.  One  tiger  in  our  shoot 
did  attempt  to  get  on  top  of  a  small 
pad  elephant  and  almost  succeeded 
without  even  mauling  the  elephant. 
But  cases  have  been  known  where  the 


FILMING  A  TIGER  SHOOT 

(Continued  from  page  7) 


tiger  when  wounded  would  attempt 
to  reach  the  hunter's  howdah.  In 
shooting  from  a  moving  elephant  there 
is  always  a  chance  that  the  elephant 
will  move  or  twist  sufficiently  quick 
to  throw  the  gun  up,  even  though 
the  man  behind  takes  every  precau- 
tion. There  is  more  danger  in  shoot- 
ing a  heavy  double  barrel  Express 
gun  than  a  rifle.  Once  the  safety  is 
off  the  gun  both  barrels  are  free.  The 
elephant  always  gives  a  start  some- 
times a  violent  jerk  following  the  dis- 
charge of  a  heavy  gun  so  near  his 
head.  To  upset  the  shooters'  balance 
might  easily  cause  the  remaining  load- 
ed barrel  to  be  discharged  in  any  di- 
rection, while  with  a  rifle  it  is  neces- 
sary to  operate  the  bolt  after  each 
shot.  While  not  so  quick  for  a  sec- 
ond shot  as  the  duplex  barrel  arm  it 
is  far  safer  as  it  requires  that  the 
shooter  regain  his  equilibrium. 

I  have  never  heard  of  a  man  being 
so  shot,  but  I  was  told  of  an  elephant 
which  was  killed  by  a  gun  so  dis- 
charged on  the  opposite  side  of  the 
ring.  Most  of  my  time  was  occupied 
filming  the  whole  affair,  following 
the  ever  changing  positions  of  the 
rings  over  all  of  which  I  had  no  con- 
trol, and  looking  for  good  positions 
and  trying  to  determine  where  the 
tiger  would  break.  In  this  I  do  not 
mind  admitting  that  I  often  chose  the 
same  side  of  the  ring  as  that  taken  by 
the  least  experienced  "guns"  and  for 
this  I  had  my  own  reason. 


<J  Cinematographer  Not  Popular 
with  Sportsmen. 

The  movie  man  is  rated  as  a  decided 
nuisance  by  most  all  sportsmen  that 
are  shooting:  chiefly  because  he  us- 
ually pesters  them  to  desperation.  The 
professional  hunters  in  Africa  hate  the 
camera,  and  I  am  told  will  double 
their  charges  if  a  movie  camera  is  to 
accompany  the  shoot.  Of  course,  the 
cinematographer  wants  good  pictures, 
realistic  and  even  dramatic  pictures 
if  he  can  get  them,  staged  or  other- 
wise ;  he  is  often  inclined  to  want  the 
ring  reformed  for  close-up  "cutins" 
of  the  "mighty  hunters"  shooting.  Or 
to  even  ask  that  the  whole  cavalcade 
be  stopped  while  he  "sets  up"  on  the 
other  side  of  the  river  for  the  "victor- 
ious return"  always  when  the  hunters 
are  all  anxious  for  camp  and  tea.  He 
is  the  bane  of  the  native  skinner's  ex- 
istance,  who  want  to  get  on  with  their 
work  rather  than  sling  the  dead  tigers 
on  elephants  and  take  them  across  the 
river  "for  a  picture."  They  argue  that 
they  can  skin  the  animals  on  this  side 
of  the  river  as  well  as  the  other  side 
and  the  Sahib  ought  to  know  it.  Yet 
perseverance  and  a  smile  will  accomp- 
lish much,  especially  when  backed  up 
with  a  "jingle  of  the  guinea  that 
soothes  the  hurt  that  honour  feels." 
There  is  another  method  of  tiger 
shooting  practised  in  the  central  pro- 
vinces where  elephants  are  not  avail- 
able. There  "Medians"  are  built 
in  trees,  but  it  is  slow  sport  and  does 
not  compare  with  the  ringing  method 
for  fun  and  excitement  nor  is  it  ac- 
companied by  any  more  danger. 


WILLIAM  ("DADDY")  PALEY  CROSSES 
GREAT  DIVIDE 

(Continued  from  page  8) 
original  lines,  and  who  had  already  perfected  the  famous 
Edison's  Kinetoscope. 

The  first  picture  ever  made  by  Edison  for  exhibition 
purposes  was  a  boxing  match  between  the  famous  Billy 
Edwards  and  Arthur  Chambers.  It  was  filmed  in  five 
reels  of  50  feet  each  and  was  a  real  triumph  of  the  cinema 
art  as  it  was  in  those  days.  This  picture  created  the  first 
big  sensation  in  the  amusement  world,  and  forecast  de- 
finitely the  possibilities  and  popularity  and  importance  of 
the  motion  picture  as  an  entertainment  medium. 

Mr.  Paley's  camera  was  so  much  in  demand  that  he 
could  not  begin  to  fill  the  engagements  offered  him.  He 
worked  in  and  around  New  York,  Washington,  Phila- 
delphia, photographing  all  classes  of  subjects,  until  the 
U.  S.  warship,  Maine,  was  blown  up  in  Havana  harbor. 
At  this  time  he  was  at  Yale  University  filming  the  winter 
sports  of  the  students.  Thomas  A.  Edison  wired  him  to 
go  to  Havana  to  make  news  features,  and  he  accepted, 
remaining  there  until  Consul  General  Fitzhugh  Lee  left 


his  post  to  return  to  Washington,  war  between  the  United 
States  and  Spain  being  then  a  certainty. 

When  the  first  U.  S.  expeditionary  forces  sailed  for 
Cuba,  Paley  w"as  with  them  aboard  the  hospital  ship, 
Olivette,  formerly  of  the  Plant  Line,  embarking  at 
Tampa. 

At  this  time  Daddy  Paley  stood  six  feet  one  in  his 
hose  and  weighed  335  pounds.  He  was  the  biggest  man 
in  the  expedition  except  the  comander-in-chief,  William 
R.  Shafter,  who  weighed  355  pounds,  but  was  not  so  tall 
as  Paley.  He  reported  to  Shafter  at  Tampa,  and  because 
of  the  fellowship  that  naturally  exists  between  men  of 
large  displacement,  the  two  mammoths  of  the  Yankee 
expedition  at  once  became  fast  friends,  and  Paley  was 
given  every  facility  to  pursue  his  work. 

In  those  days  photographic  equipment  was  not  so  handy 
as  it  is  now,  and  Paley  had  his  troubles  with  his  heavy 
loads,  rough  roads,  rains,  mud,  heat,  mosquitos,  snipers, 
yellow  fever  and  bad  food  and  water.  From  General 
Shafter  and  his  staff  down  to  the  mule  drivers  Paley  had 
the  entire  army  and  navy  with  him,  but  everybody  was 


July,  1924 


AMERICAN      CINEMATOGRAPHER 


Seventeen 


so  busy  with  his  own  troubles  and  Paley's  work  was  so 
technical,  that  he  had  to  depend  largely  upon  himself. 

He  got  a  lot  of  good  stuff  around  Baiquiri,  where 
Shafter  landed,  but  didn't  get  any  "action"  stuff  until 
that  fatal  day  at  Las  Quasimas,  where  the  Rough  Riders 
first  went  into  action  and  where  Hamilton  Fish,  Lieu- 
tenant Tiffany  and  Captain  Capron  were  killed.  This 
fight  was  in  the  brush,  an  ambuscade  in  fact,  and  Paley's 
film  showed  for  the  most  part  but  puffs  of  smoke  where 
the  fighting  was  hottest.  He  got  shots  of  Wood,  Roose- 
velt and  others  going  into  action,  but  once  in  the  under- 
growth it  was  impossible  to  follow  the  men. 

Just  before  the  battle  of  San  Juan  he  was  at  Shafter's 
headquarters  one  morning  filming  some  camp  stuff  when 
a  negro  courier  rode  up  with  a  message  for  the  general. 
As  the  courier,  who  was  an  alert,  bright  young  fellow, 
stood  at  attention  before  the  general  and  his  staff  he  was 
seen  to  be  restless,  and  his  eyes  shot  many  rapid  glances 
far  away  to  his  left.  An  aide  quickly  noticed  the  courier's 
unrest  and  questioned  him. 

"Something  the  matter?"  inquired  the  aide. 

"Yes,sah." 

"Speak." 

"Ah  sees  a  sha'p  shootah  in  dat  cocoanut  tree  'way  ovah 
on  dat  hill.  With  you-all's  p'mission,  Ah'll  bring  him 
down." 

Everybody  looked  at  the  cocoanut  tree.  It  was  easily 
1400  yards  away,  and  nobody  could  see  anything  in  it, 
even  with  a  glass.  But  the  colored  boy  was  positive,  and 
General  Shafter  gave  him  leave  to  shoot.  Paley  set  up  his 
camera  to  train  it  on  the  tree,  but  before  he  could  do  it 
the  courier  shot  and  sure  enough  a  second  later  a  Spanish 
sharp  shooter,  still  gripping  his  riflle,  tumbled  headlong 
from  the  tree.  For  this  the  negro  boy  received  the  thanks 
of  the  general,  and  later  was  given  a  medal. 

Mr.  Paley  saw  Edward  Marshall,  the  New  York  news- 
paper correspondent,  shot  at  Las  Quasimas,  and  on  July 
1,  1898,  filmed  the  first  shot  fired  by  Capron's  Battery  in 
the  general  advance  on  Santiago.  This  Captain  Capron 
was  the  father  of  the  Capron  Capron  killed  at  Las 
Quasimas. 

In  the  attack  on  San  Juan,  Grimes'  Battery  was  just 
going  into  action  when  Paley  set  up  just  behind  the  line 
to  get  the  effect  of  the  first  shot.  As  he  stood  ready  to 
crank  Grimes  saw  him  and  shouted : 

"Better  get  up  there  in  the  shade  of  that  sugar  mill.  We 
are  using  black  powder,  and  as  soon  as  fire  the  enemy 
will  get  our  range." 

Paley  took  the  cue  and  moved.  The  battery  cut  loose 
and  was  almost  immediately  answered  by  the  Spaniards. 
A  shell  dropped  on  the  exact  spot  where  Paley  had  been, 
and  at  the  same  time  a  ball  from  a  sharpshooter's  rifle 
smashed  into  his  camera  box,  passing  from  behind  under 
his  left  arm  and  tearing  through  his  coat  sleeve.  He 
jammed  his  finger  into  the  hole  until  he  could  chew  up 
some  paper  and  plug  it.  When  developed  the  film  in  the 
box  was  a  bit  fogged,  but  was  shown  with  a  sub-title 
explaining  the  incident. 

During  the  next  fifteen  days  Paley  was  busy  getting 
action  stuff  and  Was  in  the  thick  of  the  fighting  up  to  the 
surrender  of  the  Spanish  commander-in-chief,  General 
Toral,  at  9  o'clock,  July  17,  1898.  In  the  meantinme  he 
had  filmed  the  scene  of  the  exchange  of  Richmond  P. 
Hobson  and  his  men  for  Spanish  prisoners  of  war  and 
on  July  3,  was  all  set  up  to  shoot  the  landing  of  Admiral 


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American   Society  of  Cinematographers 


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COMMERCIAL  PHOTOGRAPHY 

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Eighteen 


AMERICAN      CINEMATOGRAPHER 


July,  1924 


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Sampson,  who  was  coming  ashore  at  Siboney  for  a  con- 
ference with  General  Shafter,  when  the  guns  of  the 
Spanish  and  American  fleets  in  their  famous  battle  off 
Santiago  caused  Sampson  to  hurry  back  to  the  fleet.  It 
is  the  great  disappointment  of  Mr.  Paley's  life  that  he 
was  not  aboard  the  Brooklyn  or  the  Texas  during  this 
fight. 

After  Toral's  surrender,  Mr.  Paley  was  stricken  with 
yellow  fever,  but  with  the  help  of  General  Shafter  he 
managed  to  get  all  his  film  safely  away  to  the  Edison 
Company  before  he  surrendered  to  the  hospital  ship  at 
Guantanamo.  He  was  taken  to  New  York  and  was  des- 
perately ill  for  weeks,  but  recovered  in  time  to  film  the 
final  scenes  of  the  war  in  Washington. 

While  still  weak  with  his  illness,  Daddy  Paley  was 
called  by  Edison  to  film  the  land  and  naval  reviews  in 
celebration  of  the  victory  and  triumphant  return  of  Ad- 
miral Dewey  and,  while  there  were  other  cameras  on  the 
job,  he  secured  the  finest  record  of  the  fleet  passing  Grant's 
tomb,  and  got  a  close-up  of  the  Admiral,  who  bowed 
right  into  the  eye  of  the  camera. 

Daddy  Paley's  negatives  are,  therefore,  the  only  motion 
picture  records  of  the  Spanish-American  war  in  existence. 
They  are  owned  by  the  Edison  Company,  and  are  still 
catalogued  among  the  educational  releases  of  the  company. 


PROGRESS  IN  SENDING  MOTION  PICTURES 
BY  RADIO 

(Continued  from  page  9) 

Radio  Movies 
To  get  movies  by  radio  the  demonstration  consists  in 
projecting  a  picture,  with  a  motion  picture  projector,  onto 
a  ground  glass  screen  located  in  the  focus  of  the  radio 
photo  transmitter. 

The  necessary  number  of  lines  per  second  for  satis- 
factory radio  vision  and  radio  movies  can  doubtless  be 
attained.  The  required  modulation  of  the  light  is  be- 
lieved feasible  with  the  special  lamp  Professor  D.  Mc- 
Farlan  Moore,  of  the  Harrison  Lamp  Works,  is  develop- 
ing for  us.  Modulation  from  light  to  dark  of  the  order  of 
160,000  per  second  is  required  for  100-lines  per  inch 
picture,  and  this  is  believed  possible;  and  that  the  light 
can  be  made  of  sufficient  intensity  for  home  movies  by 
radio.  Refinement  will  give  us  quality  just  as  it  has 
in  radio  photography,  and  I  think  it  is  only  a  few  months 
off. 

Synchronizing  Means 

Synchronism  for  Radio  Vision  and  Radio  Movies  is 
extremely  simple,  as  simple  as  framing  in  ordinary  motion 
picture  projection. 

Synchronism  for  Radio  Photos  is  a  little  more  complex, 
but  is  automatic,  and  has  been  worked  out  in  such  fash- 


July,  1924 


AMERICAN      CINEMATOGRAPHER 


Nineteen 


ion  that  it  is  dependable.  A  tuning  fork  of  60  beats  per 
second  is  employed  to  control  the  speed  of  the  motors. 
The  motor  at  the  station  that  is  transmitting  holds  all 
receiving  station  forks  automatically  in  phase  with  the 
sending  station  fork.  And  this  synchronism  can  be  defi- 
nitely ascertained  by  glancing  at  what  appears  to  be  a 
hand  on  a  dial,  although  it  is  in  reality  a  swiftly  rotating 
member  illuminated  by  a  light  rapidly  turned  on  and  off 
by  radio  signals  sent  out  from  the  station  which  is  trans- 
mitting at  the  time.  With  this  apparatus  we  can  auto- 
matically keep  motors  in  synchronism  which  are  separated 
hundreds,  even  thousands  of  miles. 

Perhaps  I  might  add  that  we  are  about  aready  to  put 
into  actual  useful  service  four  machines,  in  four  stations, 
each  machine  being  both  a  sending  and  receiving  instru- 
ment. Pictures  and  messages  can  thus  be  sent  both  ways 
at  the  same  time;  and  either  by  ( 1 )  radio,  by  (2)  directed 
radio,  or  by  (3)  wire. 

Light  Failure  Warning 

It  may  be  of  passing  interest  to  note  that  as  a  sort  of 
by-product  of  our  work,  apparatus  has  been  developed 
which  will  give  warning  at  headquarters  when  a  distant 
lamp  or  lamps  go  out  or  otherwise  fail  for  any  reason, 
and  identify  the  lamp.  The  costs  of  the  apparatus  is 
very  low  indeed. 

These  warning  devices  are  useful  in  railroad  signal 
lamps;  mail  plane  night-flying  routes;  and  in  marine 
lighthouse  installations,  some  of  which  are  in  isolated  loca- 
tions visited  but  once  a  year  perhaps. 


Good 
Definition 

T  NCREASED  speed  at  no  sacri- 
*■  fice  in  other  optical  qualities — 
that  is  what  has  been  accomplished 
by  Bausch  &  Lomb  Ultra  Rapid 
Anastigmat  Lens,  f:2.7.  With 
nearly  twice  the  speed  of  the  f  :3.5 
lens,  the  f:2.7equals  it  in  definition, 
and  at  the  same  time  has  the  same 
degree  of  sharpness  from  center  to 
margin. 

Circular    H-u    suggests    hovj    to    solve 

the  problem  of  poorly  lighted  interiors. 

Ask  for  a  copy. 


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CINE   CAMERA  TAKING  3200   PICTURES 
PER  MINUTE 

(Continued  from  page  9) 

of  the  bird ;  the  wing  bones  are  bent  at  right  angles  on  the 
back-stroke,  and  are  fully  extended,  that  is,  they  are 
straight  out  from  the  body,  on  the  forward-stroke ;  and  the 
movement  of  the  feathers  show  a  pressure  at  the  tip  of 
the  wing  far  greater  than  was  suspected,  and  probably 
accounts  for  the  airplane  accidents  in  which  crashes  have 
occurred  because  of  the  loss  of  an  aileron. 

The  quality  of  the  negatives  has  now  reached  a  point 
quite  creditably  comparable  with  the  negatives  which  are 
intermittently  moved  at  but  a  tenth  to  a  twentieth  the 
speed. 

I  think  the  camera  is  destined  to  prove  an  instrument 
of  great  value  in  scientific  and  engineering  investigations, 
and  are  now  avaible  for  the  purpose. 


Reggie  Lyons,  A.  S.  C,  has  annexed  another  foreign 
car  to  his  string.     What  will  the  next  one  be,  Reg? 


Jackson  J.  Rose,  A.  S.  C,  has  finished  photographing 
two   Universal   productions  directed   by  Arthur   Rosson. 


Robert  Kurrle,  A.  S.  C,  is  photographing  Edwin 
Carewe's  First  National  production,  "Madonna  of  the 
Streets."     Nazimova  and  Milton  Sills  lead  the  cast. 


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AMERICAN      CINEMATOGRAPHER 


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S.  M.  P.  E.  Holds  Spring  Meeting; 

Numerous  Papers  Read 

The  Spring  meeting  of  the  Society  of  Motion  Picture 
Engineers,  held  at  Lakewood  Farm  Inn,  Roscoe,  N.  Y., 
brought  forth  a  schedule  of  well  treated  papers  on  cine- 
matographic and  scientific  subjects  of  interest  to  all  in 
the  technical  and  production  end  of  the  film  industry. 

A  substantial  attendance  at  the  S.  M.  P.  E.  meeting  was 
reported,  with  a  well  arranged  and  diversified  program  to 
amuse  members  during  the  time  that  they  were  not  in 
convention  assembled. 

The  papers  presented  included  "The  Progress  of  Arc 
Projection  Efficiency"  by  P.  R.  Bassett  of  the  Sperry 
Gyroscope  Company;  "Miniature  for  Motion  Pictures" 
by  J.  A.  Ball;  "Stereoscopy  and  its  Possibilities  in  Pro- 
jection" by  Dr.  H.  Kellner;  "Colored  Glasses  for  Stage 
Illumination"  by  H.  P.  Gage  of  the  Corning  Glass  Works; 
"A  Method  of  Comparing  Definitions  of  Projection 
Lenses"  by  S.  C.  Rogers;  "Constant  Current  and  Constant 
Potential  Generators  for  Motion  Picture  Projection  Arcs" 
by  A.  M.  Candy;  "The  Effect  of  Humidity  Upon  Photo- 
graphic Speed"  by  F.  F.  Renwick ;  "The  Straight  Line 
Developing  Machine"  by  R.  C.  Hubbard;  "Difficulties 
Encountered  in  the  Standardization  of  Theatre  Screen  and 
Illumination"  by  F.  H.  Richardson;  "The  Effect  of 
Scratches  on  the  Strength  of  Motion  Picture  Film"  by 
Dr.  Sheppard;  "Requirements  of  the  Educational  and 
Non-Theatrical  Entertainment  Field"  by  W.  W.  Kincaid; 
"Motion  Picture  Projection  as  a  Medium  of  Instruction" 
by  A.  G.  Balcom ;  "The  Filmo  Automatic  Cine  Camera 
and  Cine  Projector"  by  J.  H.  McNabb;  "Results  Ob- 
tained with  the  Relay  Condensery  System"  by  Dr.  Kell- 
ner; "Is  The  Continuous  Projector  Commercially  Practi- 
cal?" by  H.  Griffin  and  L.  Bowen ;  "Sprocket  Measure- 
ments" by  W.  C.  Vinten;  "Improvements  in  Motion  Pic- 
ture Laboratory  Apparatus"  by  J.  I.  Crabtree  and  C.  E. 
Ives;  "  Some  Characteristics  of  Film  Base"  by  Max 
Briefer;  "Panoramic  Motion  Pictures"  by  G.  C.  Ziliotto; 
and  "Methods  of  Making  Motion  Picture  Titles"  by 
Mr.  Rupert  and  J.  I.  Crabtree. 

Among  those  in  attendance  were:  P.  M.  Abbott,  P.  L. 
C.  Barbier,  P.  R.  Bassett,  George  Blair,  M.  Briefer,  D. 
Brown,  R.  S.  Burnap,  A.  M.  Beatty,  S.  R.  Burns,  Lester 
Bowen,  G.  L.  Chanier,  W.  B.  Cook,  J.  I.  Crabtree,  H. 
H.  Cudmore,  L.  E.  Davidson,  E.  J.  Denison,  A.  C. 
Dick,  C.  E.  Egeler,  E.  M.  Flaherty,  K.  Flynn,  J.  L. 
Faircloth,  H.  P.  Gage,  H.  Griffin,  R.  M.  Hill,  A.  J. 
Holman,  J.  C.  Hornstein,  R.  C.  Hubbard,  W.  C.  Ihnen, 
C.  E.  Ives,  J.  Jones,  L.  A.  Jones,  Wm.  V.  D.  Kelley, 
H.  Kellner,  W.  W.  Kincaid,  J.  C.  Kroesen,  W.  C.  Kunz- 
mann,  W.  F.  Little,  H.  H.  McNabb,  J.  R.  Manheimer, 
Max  Mayer,  I.  L.  Nixon,  J.  A.  Norling,  M.  W.  Palmer, 
R.  S.  Peck,  L.  C.  Porter,  J.  H.  Powrie,  F.  F.  Renwick, 

F.  H.  Richardson,  A.  C.  Roebuck,  S.  C.  Rodgers,  Max 
Ruben,  E.  E.  Richardson,  F.  M.  Savage,  J.  A.  Summers, 

G.  A.  Scanlan,  J.  H.  Theiss,  L.  M.  Townsend,  W.  C. 
Vinton,  G.  C.  Ziliotto. 


fes2$n£a 


July,  1924 


AMERICAN      CINEMATOGRAPHER 


Tiventy-one 


Synchronizing    Taking    and    Camera    Speeds 


From  Transactions,  Society 
of  Motion  Picture  Engineers 


By  F.  H.  Richardson 


Facts  on  Projection  an d 
Standard  Taking  Speed. 


I  BELIEVE  we  all  will  agree  that  when  a  moving 
object  has  been  photographed  for  reproduction  as  a 
motion  picture,  if  it  is  to  appear  upon  the  screen  in  all 
respects  as  the  original  object  appeared  to  the  "eye"  of 
the  camera,  the  speed  of  its  projection  must  be  exactly  the 
same  as  was  the  speed  of  its  taking — the  same  as  the 
camera  speed  when  it  was  "shot."  We  will,  I  think,  all 
heartily  agree  that  any  departure  from  perfect  synchron- 
ization of  the  taking,  or  camera  speed,  and  the  speed  of 
reproduction,  or  projection,  must,  and  inevitably  will 
cause  the  moving  object  to  appear  differently  upon  the 
screen  than  it  appeared  to  and  was  photographed  by  the 
camera,  hence  under  such  conditions  the  spectator  cannot 
and  will  not  see  the  moving  objects  as  the  camera  "saw"  it. 

We,  therefore,  concluded  that  for  best  effect  it  is  al- 
ways necessary  that  there  be  perfect  synchronization  be- 
tween taking  and  projection  speed,  but  this  conclusion 
would,  in  some  cases,  lead  us  astray.  It  is  a  fact  well 
recognized  by  projectionists  and  theatre  managers  that 
some  isolated  scenes  may  be  considerably  improved  by  a 
projection  speed  well  in  advance  of  taking  speed.  Such 
scenes  are,  for  the  most  part,  racing  and  similar  scenes, 
where  the  original  action,  while  perfectly  natural,  still 
appears  more  exciting  and  better  to  the  theatre  audience 
if  the  action  be  made  more  rapid,  provided  the  increase 
be  not  sufficient  to  make  it  appear  unnatural. 

It  is  precisely  this  point  which  makes  it  difficult  to  con- 
vince projectionists  and  theatre  managers  that  synchron- 
ization of  taking  and  projection  speeds  should  prevail. 
The  instant  we  admit  that  these  gentlemen  should  be  per- 
mitted to  speed  up  projection  over  taking  speed,  we  open 
wide  the  gates  for  abuse,  because  it  is  then  left  to  the 
judgment  of  every  one  of  the  many  thousands  of  theatre 
managers  and  projectionists  as  to  what  scenes  should  be 
over-speeded  and  how  much  the  speed  should  be  acceler- 
ated. A  moment  of  thought  should  convince  you  that 
this  is  a  very  serious  matter  indeed. 

The  producer  is  presumed  to  employ  directors  and 
cameramen  of  recognized  ability,  upon  whose  judgment 
we  may  depend  in  the  matter  of  what  speed  of  action  will 
produce  the  best  possible  effect.  These  gentlemen  usually 
carefully  rehearse  each  scene,  often  at  very  large  expense, 
in  order  that  the  artistic  effect  may  be  exactly  right.  I 
have  myself  watched  the  "shooting"  of  a  scene  with  a 
sharp  command  to  "cut"  when  it  was  half  through  be- 
cause some  actor  had  moved  too  fast  or  too  slowly  and  thus 
marred  the  artistic  effect,  causing  a  re-take.  I  mention 
this  as  indicating  the  importance  directors  place  on  the 
matter  of  speed,  particularly  in  certain  scenes,  or  scenes 
of  a  certain  class. 

After  taking,  the  various  scenes  of  a  production  are 
carefully  scrutinized  by  other  men,  who  are  supposed  to 
be  expert  in  the  matter  of  judging  effects,  before  the  posi- 
tive prints  are  finally  made  and  the  production  released 
for  theatrical  use. 

Surely,  therefore,  we  have  the  right  to  presume  that, 
except  for  news  reels,  events  over  which  the  agnts  of  the 


producer  can  have  no  control  in  the  matter  of  speed,  such 
as  races  of  various  sorts,  and  productions  where  freak 
speeds  are  purposely  used,  all  moving  objects  in  any  pro- 
duction are  "shot"  at  the  speed  of  action  best  calculated 
to  produce  maximum  artistic  effect,  hence  if  the  projec- 
tion speed  be  perfectly  synchronized  with  camera  speed, 
the  action  will  be  exactly  what  it  should  be,  and  the  pro- 
duction will,  insofar  as  action  is  concerned,  have  one 
hundred  per  cent  value  to  all  those  who  witness  its  re- 
production upon  a  screen. 

But  right  there  comes  the  rub.  Except  for  a  comparat- 
ively every  few  super  productions,  put  out  by  a  certain 
producer,  which  were  accompanied  by  a  cue  sheet  instruct- 
ing the  projectionist  at  exactly  what  projection  speed  each 
scene  should  be  run,  the  projectionist  has  never  had  and 
does  not  now  have  any  guide  to  correct  projection  speed 
except  insofar  as  he  is  able  to  judge  of  it  by  watching  the 
action  of  each  individual  scene. 

The  motion  picture  industry  has,  ever  since  its  inception, 
labored  under  the  handicap  of  having  its  finished  product 
interpreted  upon  the  screen  by  men  who  were  either  pos- 
sessed of  no  manner  of  competency  entitling  them  to  un- 
dertake so  important  a  function,  or  who  labored  under 
the  limitations  of  a  time  schedule  which  took  from  them 
all  power  to  interpret  the  action  of  the  various  scenes 
correctly.  The  abuses  in  this  direction  have  been  so  glar- 
ing that  one  state,  Colorado,  enacted  a  statute  forbidding 
the  projection  of  any  motion  picture  at  a  greater  rate  than 
eighty  feet  of  film  per  second.    That  law  still  is  in  force. 

To  judge  of  what  speed  of  action  will  produce  the 
highest  and  best  artistic  effect,  one  must  be  equipped  with 
very  real  skill  and  training.  Even  with  adequate  skill 
and  training  it  would  very  often  be  impossible  to  judge 
of  the  best  possible  effect  until  one  had  projected  and 
watched  a  scene  several  times  at  different  speeds.  That 
this  is  true  is  proven  by  the  fact  that  directors  very  often 
rehearse  scenes  several  times,  changing  the  speed  of  action 
to  get  the  best  effect. 

And  now,  gentlemen,  I  ask  you  to  consider  what  per- 
centage of  motion  picture  projectionists  have  sufficient 
skill  to  be  intrusted  with  so  very  important  a  business  as 
this.  I  also  ask  you  to  consider,  from  your  own  knowl- 
edge, what  percentage  of  projectionists  have  made,  or  are 
making  any  adequate  effort  to  train  themselves  in  the 
matter  of  judging  action.  I  also  ask  you  to  consider  what 
percentage  of  them  are  projecting  under  the  limitations  of 
an  iron-clad  time  schedule,  which  takes  from  them  all 
control  of  projection  speed. 

All  this  leads  up  to  the  fact  that  failure  to  adopt  some 
adequate  means  for  securing  the  synchronization  of  camera 
and  projection  speed  operates  to  place  the  entire  finished 
product  of  the  motion  picture  industry  at  the  mercy  of  the 
theatre  manager  and  projectionist,  insofar  as  has  to  do 
with  speed  of  action  of  all  moving  objects. 

The  theatre  manager  may,  and  very  often  does  alter 
the  action  tempo  of  an  entire  production,  either  by  forcing 
the  projectionist  to  jam  through  too  much  film  in  a  given 


Tiutnty-tvf 


AMERICAN      CINEM  ATOGRAPHER 


July,  1924 


"schedule"  time;  by  not  supplying  enough  film  footage 
to  fill  up  the  time  schedule  at  proper  projection  speed, 
or  by  direct  orders  to  the  projectionist  to  run  at  excess 
speed. 

Very  often  this  is  carried  to  an  extent  which  causes  the 
action  to  appear  ridiculous  and  farcical. 

On  the  other  hand  the  projectionist  may  sadly  mar  the 
effectiveness  of  many  scenes  by  permitting  the  projector  to 
pound  along  at  set,  unvarying  speed,  throughout  a  pro- 
duction in  which  the  taking  speed  of  scenes  varies  widely. 
This  is,  in  fact,  a  very  common  source  of  injury  to  the 
artistic  effect  of  productions,  the  projectionist  excusing  it 
by  pointing  to  the  time  schedule,  which  may  or  may  not 
be  a  valid  excuse,  because  often  it  would  be  impossible  for 
a  projectionist  to  gain  on  one  scene  what  might  be  lost 
on  another. 

Camera  speed  is  presumed  to  be  standard — one  and  the 
same  thing  all  the  time.  Cameramen  vehemently  declare 
it  to  be  so,  or  at  least  that  the  possible  variations  are  very 
slight.  On  the  other  hand  projectionists,  to  whom  the 
task  of  reproducing  the  scenes  before  the  public  is  in- 
trusted, are  a  unit  in  declaring  this  to  be  untrue. 

Many  of  our  best  projectionists  are  emphatic  in  saying 
that  taking  speed  varies  all  the  way  between  sixty  (60) 
and  eighty-five  (85)  feet  per  minute.  Personally  I  am 
of  the  opinion  that  this  is  correct,  with  the  notation  that 
but  very  little  "shooting"  is  done  at  so  low  a  speed  as  that 
first  named.  The  opinion  of  competent  projectionists  is 
that  seventy-five  (75)  feet  per  minute  is  the  speed  most 
used  by  cameramen,  though  there  is  much  variation  as  be- 
tween seventy  and  eighty. 

Whether  it  is  possible  to  adopt  and  compel  cameramen 
to  use  some  unvarying  taking  speed  I  do  not  know,  but 
certainly  if  it  could  be  done,  without  injury  in  other  di- 
rections, it  would  operate  to  enormously  improve  that 
which  the  public  sees  upon  the  screen,  because  we  could 
then  demand  that  the  projector  be  operated  at  standard 
taking  speed,  and  would  have  a  cogent  argument  behind 
that  demand. 

When  the  producer,  who  has  expended  huge  sums  of 
money  and  tremendous  effort  in  perfecting  a  production, 
finally  looks  at  it  in  the  finished  state  in  his  screening 
room,  I  wonder  if  he  realizes  that  but  relatively  very  few 
theatre  audiences  will  ever  see  it  exactly  as  he  has  seen  it  ? 

He  is  filled  with  pride  as  he  looks  upon  some  fine  bit 
of  acting — a  death  bed  scene,  for  instance.  He  declares 
it  to  be  a  marvel  of  artistry,  and  that  it  will  "bring  tears 
to  their  eyes,"  which  would  be  quite  true  did  the  audiences 
see  it  as  he  has  seen  it. 

But  the  finely  acted  scene  will  bring  no  tears  to  the 
eyes  of  the  vast  majority  of  audiences.  To  some  it  may 
actually  bring  lapghter,  because  by  the  speed-em-up  pro- 
cess, brought  about  for  any  one  of  the  reasons  before 
named,  the  actors  who  portrayed  the  scene  so  artistically 
before  the  camera  will  be  transformed  into  swif-moving 
travesties  on  the  original.  Instead  of  the  daughter  giving 
her  dying  mother  a  fond  embrace  and  a  loving  kiss,  she 
is  made  literally  to  grab  the  mother,  yank  her  head  up, 
dab  their  lips  together  and  scuttle  away  as  though  it  were 
a  deuced  nuisance  and  she  was  glad  it  was  over  with.  The 
whole  effect  the  director  has  striven  so  hard  to  attain  is 
entirely  altered  and  utterly  ruined. 


I  have  asked  before,  and  I  again  ask,  does  the  producer 
really  take  the  slightest  interest  in  the  way  his  productions 
are  placed  before  the  public?  It  would  seem  not.  Cer- 
tainly he  well  knows  that  they  are  literally  robbed  of  all 
artistic  beauty  in  thousands  of  theatres  every  day,  for  no 
other  reason  that  failure  to  project  them  at  camera  speed, 
and  thus  duplicate  the  original  action.  For  some  reason, 
which  the  ordinary  mind  cannot  comprehend,  the  producer 
does  not  seem  to  be  in  any  way  interested  in  this  man- 
handling of  his  product,  or  if  he  is  he  does  not  make  even 
the  smallest  protest.  In  all  the  great  mass  of  printed  and 
written  advertising  matter  sent  out  by  producers,  I  have 
never  seen  one  word  of  comment  on  the  importance  of 
projecting  the  picture  at  taking  speed.  In  all  the  many 
articles  in  various  trade  and  other  papers,  which  emanated 
from  the  offices  of  producers,  I  have  yet  to  find  one  single 
word  of  protest  against  the  ruinous  process  of  overspeeding 
or  a  word  of  caution  as  to  the  importance  of  synchroniza- 
tion of  taking  and  projection  speed.  In  all  the  thousands 
of  articles  sent  out  by  producers  for  publication  in  news- 
papers and  magazines,  for  general  consumption  by  the 
public,  I  have  yet  to  see  a  single  word  tending  to  educate 
the  public  to  demand  100  percent  value  for  its  money  by 
insisting  on  proper  projection  speed.  There  is  never  a 
word  heard  in  any  of  the  many  speeches  made  by  producers 
and  their  representatives  upon  the  importance  of  so  pro- 
jecting the  picture  that  it  will  duplicate  the  original  scene 
in  action. 

The  Projection  Department  I  have  had  the  honor  of 
conducting  in  one  of  the  trade  papers  for  twelve  years 
past  has,  during  all  that  time,  literally  battled  against  the 
OUTRAGE  of  over-speeding.  During  all  that  time  it 
has  not  had  even  the  slightest  aid  or  encouragement  from 
from  any  producer  of  motion  pictures  in  this  matter,  ex- 
cept that  Wm.  V.  D.  Kelley  did  once  say  to  me:  "The 
work  you  are  doing  in  fighting  over-speeding  is  good." 
That  is  absolutely  all  the  apparent  interest  producers  have 
taken  in  my  attempt  to  supress  this  great  evil. 

Trade  papers  are  not  secret  affairs.  The  producers  all 
know  of  them,  and  are  not  at  all  slow  to  utilize  their 
columns  to  the  full  extent  of  their  ability  for  setting  forth 
the  excellence  of  their  product,  but  when  it  comes  to 
utilizing  those  same  columns  to  tell  the  exhibitor  how 
much  finer  those  same  products  would  appear  to  the  public 
if  they  were  projected  at  proper  speed,  they  are  very  con- 
spicuous by  their  silence. 

Frankly  I  am  unable  to  understand  this.  If  the  pro- 
ducer does  not  care  how  his  product  appears  before  its 
buyer — the  public,  then  why  in  the  name  of  Heaven  does 
he  employ  high  grade  talent  all  through  the  process  of  its 
making,  and  guard  every  step  in  the  making  with  utmost 
care.  One  would  suppose  that  when  such  great  pains  are 
taken  to  rehearse  scenes  sometimes  a  dozen  times,  until 
they  appear  exactly  as  the  director  desires  them  to  appear, 
both  the  director  and  the  producer  would  strongly  object 
to  anything  in  the  way  of  an  almost  universal  practice 
which  tends  to  change  the  action  and  lower  the  quality 
of  what  has  been  so  carefully  worked  out,  down  to  its 
smallest  detail. 

One  would  even  suppose  that  the  various  "stars,"  and 
actors  of  other  grade,  would  strongly  object  to  being  made 
to  appear  before  the  public  as  animated  jumping  jacks, 
by  having  their  actions  speeded  up  to,  in  extreme  cases, 
pretty  nearly  double  what  it  really  was.     But  in  all  my 


July,  1924 


AMERICAN      CINEM  ATOGRAPHER 


Tiverfty-t/iret 


experience  I  have  never  known  of  any  actor,  of  high  or 
low  grade,  voicing  even  the  smallest  objection. 

I  once  sat  next  to  one  of  the  really  big  stars  in  a  theatre. 
She  was  watching  one  of  her  own  productions,  without  the 
knowledge  of  any  one  that  she  was  present.  The  "sched- 
ule" was  about  right  for  seven  reels,  but  the  projectionist 
was  given  eight  reels  all  rather  overloaded,  and  one  some- 
what less  than  loaded,  which  he  must  jam  through  in  the 
allotted  time.  The  'star'  was  made  to  move  around  like 
mad,  and  the  whole  of  her  work  was  ruined.  I  fully  ex- 
pected her  to  be  indignant,  but  not  so.  She  merely  giggled 
and  remarked:  "Isn't  it  awful  the  way  they  run  them?" 
It  did  not  seem  to  occur  to  her  that  she  could  possibly  do 
anything  to  stop  such  butchery  of  her  work,  by  calling  the 
attention  of  the  public  to  it  in  some  of  the  many  "inter- 
views" printed  in  newspapers  as  coming  from  her. 

What  is  needed  is  a  campaign  on  the  part  of  producers, 
stars  and  all  those  who  have  influence,  to  educate  not  only 
the  projectionist  and  the  exhibitor,  but  the  public  as  well 
on  the  bad  effect  of  non-synchronism  of  taking  and  pro- 
jection speed.  Once  let  the  public  understand  the  matter 
and  the  reason  behind  the  ridiculously  fast  moving  actors, 
and  it  will  call  a  halt. 

I  am  sure  all  trade  papers  would  be  glad  to  lend  every 
assistance  possible,  and  a  few  articles  in  the  Sunday  edi- 
tions and  magazines  on  the  subject  would  cost  nothing 
but  the  effort  of  preparing  and  presenting  them.  This 
would  help  to  advise  the  public  on  the  injury  done  to 
productions  by  the  exhibitor  and  projectionist  who  fail  to 
project  at  taking  speed,  or  approximately  so. 

The  real  solution  of  course  is  to  compel  a  really  un- 
varying standard  camera  speed,  and  then  so  construct 
projectors  that  they  will  operate  at  that  speed  only,  but 
this  is,  I  fear,  impracticable.  I  even  am  not  sure  that  it 
would,  for  several  reasons,  be  desirable,  but  surely  varia- 
tions in  camera  speed  can,  with  proper  effort,  be  confined 
within  close  limits,  and  this  would  help  very  greatly. 

In  this  connection  allow  me  to  once  more  call  your  at- 
tention to  the  fact  that  under  present  conditions  of  high 
screen  brilliancy  in  a  very  large  percentage  of  our  high 
grade  theatres,  and  in  some  which  are  not  high  grade,  it 
is  entirely  impossible  to  synchronize  projection  speed  with 
any  camera  speed  less  than  seventy  (70)  feet  of  film  per 
minute,  and  sixty-five  (65)  is  an  absolute  minimum.  In 
fact  in  very  many  theatres  seventy  (70)  feet  is  the  mini- 
mum projection  speed  possible  without  flicker,  especially 
on  the  lighter   (less  dense)   scenes. 

It  is  quite  true  that  the  high  grade,  competent  projec- 
tionist, who  thoroughly  understands  the  optical  train  of 
his  projector,  and  how  to  get  the  best  possible  optical 
balance  in  his  projector  rotating  shutter,  can  project  at  a 
considerably  lower  speed,  before  encountering  flicker,  than 
can  the  incompetent  projectionist  who  has  the  same  screen 
brilliancy,  but  who  has  no  knowledge  beyond  the  mere 
operation  of  the  projector  mechanism. 

However,  since  we  must  perforce  deal  with  both  classes, 
it  follows  that  until  exhibitors  wake  up  to  the  importance 
of  high  grade  skill  and  knowledge  in  their  projection 
rooms,  we  must,  for  the  best  effect,  adopt  a  taking  speed 
enabling  the  low  grade  projectionist  to  project  at  that 
speed  without  flicker. 

As  the  matter  now  lies  the  projectionists  of  pretty  nearly 
all  high  grade  theatres  would  be  compelled  to  over-speed 


Seldom  available,  A.  S.  C. 
members  are  always  in  de- 
mand for  every  phase  of  cin- 
ematographic work. 

A.  S.  C.  members  can  al- 
ways be  reached  by  telephon- 
ing HOllywood  4404  at  the 
headquarters  of  AMERICAN 
Society  of  Cinematograph- 
ERS  at  1103  No.  El  Centro 
Avenue,  temporary  address 
until  completion  of  new  A.  S. 
C.  office  in  Guaranty  Build- 
ing, Hollywood. 


"  Ruo" 

the  New  Camera  Lens 
SPEED    2.5 

Focus  32.  35,  40,  50,  75 

and    100   millimeter 
ROBERT  ACKERSCHOTT 
1735    Hudson    Ave. 

Hollywood,    Cal. 

Importer  and  Agent   for 
the  U.   S.   A. 


any  production  taken  at  the  speed  of  sixty  per  minute, 
which  is  the  standard  adopted  by  this  society,  since  ar 
sixty  per  minute  there  would  be  a  terrible  flicker,  even 
with  the  best  possible  condition  as  to  optical  balance  of  the 
projector  rotating  shutter.  As  a  matter  of  fact  the  screen 
brilliancy  in  some  theatres  is  such  that  productions  having 
many  light  scenes  must  be  projected  at  close  to  eighty 
feet  per  minute  in  order  to  avoid  flicker. 

You  may  therefore  see,  gentlemen,  that  while  the  stand- 
ard of  taking  and  projection  speed  adopted  by  this  society 
may  have  been  quite  correct  when  it  was  adopted,  due 
to  increased  screen  brilliancy  it  is  now  entirely  too  low, 
and  should  be  changed. 


Tiventy-four 


AMERICAN      CINEM  ATOGRAPHER 


July,  1924 


On  the  Uniform  Development  of  Cine  Film 


From  Transactions,   Society 
of  Motion  Picture  Engineers 


By  F.  F.  Renwick 


A    Preliminary   Note    on 
Study  of  Development. 


BEING  well  aware  of  the  difficulty  of  securing  uni- 
form development  of  photographic  plates  by  any 
of  the  ordinary  methods  of  dish  or  tank  develop- 
ment, it  occurred  to  the  writer  that  it  would  be  interest- 
ing to  make  a  study  of  the  degree  of  uniformity  of  devel- 
opment usual  in  the  commercial  development  of  motion 
picture  film. 

For  this  purpose,  it  was  proposed  to  employ  motion 
picture  film  free  from  irregularities  in  the  thickness  of  its 
sensitive  coating,  to  expose  a  number  of  lengths  of  such 
film  as  uniformly  as  possible  to  a  moderately  wide  range 
of  light  intensities,  and  to  have  them  developed  in  several 
different  commercial   laboratories. 

In  the  attempt  to  produce  uniform  exposures  over  each 
picture  area,  one  of  the  regular  commercial  printing  ma- 
chines was  first  employed.  It  was  found,  however,  that 
the  illumination  was  far  too  uneven  for  our  purpose,  and 
this  leads  me  to  suggest  that  users  of  motion  picture  print- 
ing machines  will  be  well  advised  to  examine  carefully 
from  time  to  time  the  uniformity  of  the  illumination  by 
which  they  are  printing  their  pictures,  since  it  is  evident 
that  it  is  very  easy  to  spoil  the  beautiful  gradation  of  a 
picture  by  printing  it  unevenly. 

In  the  experiments  upon  which  the  following  short  note 
is  based,  irregularities  due  to  lack  of  uniformity  of  the 
exposure  over  the  area  of  a  single  picture  were  reduced 
to  a  small  amount  by  exposing  the  film  in  a  kinema  camera 
to  a  sheet  of  white  blotting  paper,  uniformly  illuminated 
by  a  blank  of  mercury  vapor  lamps,  while  lack  of  uni- 
formity in  coating  is  doubtless  very  small  in  amount  owing 
to  the  use  of  commercial  motion  picture  film  knowledge 
excellence.  I  may  say,  however,  that  in  prosecuting  this 
work  further,  it  will  be  desirable  to  adopt  a  different 
method  of  exposing  the  film,  since  the  camera  method 
employed  in  these  experiments  did  not  prove  entirely  satis- 
factory. 

The  small  irregularities  arising  from  this  cause  have 
however,  been  eliminated  by  the  method  of  computation 
adopted.  Lengths  of  film  200  feet  long  were  exposed  in 
the  manner  mentioned  at  four  different  lens  apertures  and 
were  then  sent  to  a  number  of  different  laboratories  en- 
gaged in  the  commercial  development  of  motion  picture 
film   for   development. 

On  their  return,  ten  picture  areas  at  each  exposure  were 
carefully  measured  in  a  photometer  at  five  different  places 
on  each  picture  area  (three  lying  along  the  center  line 
of  the  film,  the  other  two  being  at  the  middle  of  the  sides 
of  each  picture  area). 

The  results  were  grouped  to  determine  the  average 
density  for  each  location  and  the  average  departures  from 
these  mean  values  were  then  calculated.  The  same  pro- 
cedure was,  of  course,  adopted  for  each  of  the  four  differ- 
ently exposed  areas.  Results  obtained  from  seven  separate 
rolls  of  film  are  dealt  with  in  this  note.  In  this  way,  it 
was  found  that  although  there  was  evidence  of  a  small 
lack  of  uniformity  in  the  lighting  of  the  picture  areas, 
this  was  insufficient  to  render  doubtful  the  conclusions  to 


be  drawn  later  concerning  development.  By  considering 
the  average  deviations  in  density  at  each  spot  separately, 
we  have  determined  the  liabilties  to  fluctuation  in  density 
over  each  portion  of  the  picture  apart  from  the  above  men- 
tioned small  irregularities  due  to  exposure.  Our  results 
do  not  disclose  any  regular  tendency  towards  larger 
fluctuations  of  density  at  one  part  than  another  of  each 
picture  area  due  to  irregularities  in  development  and  dry- 
ing conditions,  and  this  is  true  whether  the  film  had  been 
developed  in  a  machine  or  on  racks  by  the  ordinary  tank 
system,  but  I  should  not  like  it  to  be  inferred  that  irregu- 
larities of  this  kind  cannot  happen,  since  in  certain  cir- 
cumstances, I  think  they  are  likely  to  arise. 

Comparing  the  average  departures  from  the  mean  dens- 
ity values  on  films  developed  in  tanks  as  compared  with 
those  developed  by  machine,  there  are,  however,  very  con- 
siderable differences.  While  in  the  best  machine-develop- 
ed film  examined,  the  average  deviations  due  to  develop- 
ment did  not  exceed  .01  for  low  densities  and  only  a  little 
over  .02  on  moderately  high  densities  (the  extreme  ranges 
being  from  four  to  five  times  these  figures),  and  while 
another  machine-developed  film  gave  an  average  deviation 
between  .02  and  .03  and  a  range  of  about  .10  for  all  four 
exposures,  it  is  apparently  not  at  all  uncommon  for  tank 
development  to  give  rise  to  average  deviations  from  the 
mean  value,  rising  rapidly  from  .02  for  the  lowest  densities 
up  to  .08  for  moderate  to  high  densities,  with  a  total  range 
of  four  or  five  times  these  amounts.  Development  condi- 
tions liable  to  lead  to  such  irregularities  as  these  can  only 
be  regarded  as  very  unsatisfactory. 

Our  experiments  are  not  sufficiently  numerous  to  enable 
me  to  say  that  the  favorable  figures  given  above  are  truly 
representative  of  machine  development,  but  as  far  as  they 
go,  they  certainly  favor  the  use  of  machines  for  develop- 
ment of  motion  picture  film  in  preference  to  racks  and 
tanks  as  frequently  employed.  On  the  other  hand,  we 
have  evidence  that  a  high  degree  of  uniformity  is  ob- 
tainable and  is  being  attained  on  racks  in  tanks  in  some 
laboratories,  for  two  of  the  tank-developed  films  measured 
were  not  seriously  inferior  in  uniformity  of  development  to 
the  machine-developed  films.  One  of  these  tank-develop- 
ed films  showed  a  very  small  progressive  rise  in  average 
deviation  from  less  than  .03  to  slightly  over  .04,  while 
the  other,  covering  the  same  range  of  densities  (.8  to  2.5), 
showed  a  drop  in  the  average  deviation  value  from  a  little 
over  0.4  to  slightly  over  .02.  These  results  differ  so 
strikingly  from  the  other  tank-developed  specimens  ex- 
amined that  it  seems  highly  desirable  to  investigate  the 
influence  of  the  composition  and  concentration  of  develop- 
ers upon  the  liability  to  irregularities  in  density  of  films 
developed  in  them. 

It  is  proposed  to  follow  up  the  work  along  these  lines 
for  it  is  obviously  important  to  film  users  to  minimize 
irregularities  of  density  due  to  the  developer  and  its 
method  of  application  as  far  as  possible,  since  such  ir- 
regularities, by  falsifying  the  gradation,  must  seriously 
impair  the  pictorial  quality  of  a  film  just  as  surely  as  does 
uneven   lighting  in   the   printing  or  projection   processes. 


July,  1924 


AMERICAN      CINEM  ATOGR  APHER 


Twenty-five 


George   Meehan,   A.   S.   C,   is  filming  a  Jim   Parrott 

comedy  at  the  Fox  studios. 

*  *     * 

W.  S.  Smith,  Jr.,  is  in  charge  of  the  cinematography 
on  the  ten-reel  Vitagraph  feature,  "Captain  Blood,"  based 
<J1\  a  story  of  the  Spanish  Main  in  the  seventeenth  and 
eighteenth  centuries.  J.  Warren  Kerrigan  and  Jean  Paige 
lead  the  cast.  For  two  months  prior  to  the  beginning  of 
filming  the  latter  part  of  May,  Smith  was  engaged  in  in- 
tensely interesting  research  work  to  obtain  data  on  arms, 
costumes,  etc.     August  30th  is  scheduled  to  be  the  finish 

date. 

*  *     * 

Al  Gillcs,  A.  S.  C,  has  finished  the  filming  of  "The 
Female,"  a  Sam  Wood  production  starring  Betty  Comp- 

son  for  Paramount. 

*  *     * 

Stephen  S.  Norton,  A.  S.  C,  has  completed  the  photo- 
graphing of  the  first  of  a  series  of  intricate  comedy  dramas 
filmed  at  Universal  City,  Jack  Dawn  directing.  The 
cinematography  in  the  Dawn  vehicle  was  of  the  most  in- 
tricate nature,  calling  for  much  stop  work  and  trick  stuff. 
Norton    finished    his   big   task   without   a   single    re-take, 

however. 

*  *     * 

William  Marshall,  A.  S.  C,  is  shooting  Richard  Tal- 
madge  in  a  Carlos  production,  James  Home  directing. 
The  feature  is  a  melo-drama  with  a  great  deal  of  whirl- 
wind action  so  that  Billy  has  plenty  of  thrills  from  start 

to  finish. 

*  *     * 

Dan  Clark,  A.  S.  C,  has  completed  camera  work  on 
"The  Love  Bandit,"  Tom  Mix's  latest  feature  for  Fox. 
Esther  Ralson  led  the  support  and  Jack  Conway  directed. 

*  *     * 

John  Arnold,  A.  S.  C,  has  finished  filming  the  first  pro- 
duction made  under  the  Metro-Goldwyn-Mayer  merger 
— "Free  Love,"  with  an  all-star  cast  directed  by  Hobart 
Henley. 

Ernest  Haller,  A.  S.  C,  is  photographing  "Empty 
Hearts,"  a  six-reel  feature  for  B.  Verschleiser  Productions. 
The  cast  includes  John  Bowers,  Clara  Bow  and  Charlie 
Murray,  Al  Santell  directing. 

*  *     * 

John  S.  Stumar,  A.  S.  C,  has  finished  the  cinematog- 
raphy on  "Wine,"  a  Universal  society  drama,  directed  by 
Louis  Gasnier,  with  Clara  Bow,  Myrtle  Steadman, 
Huntley  Gordon,  Robert  Agnew,  Walter  Long  and  For- 
rest Stanley  in  the  cast. 

Stumar  has  already  begun  work  on  "Tornado,"  an- 
other Universal  production,  directed  by  King  Baggott  and 
starring  House  Peters. 

*  *     * 

H.  Lyman  Broening,  A.  S.  C,  has  left  for  Klamath 
Falls,  Oregon,  to  join  the  Mai  Saint  Clair  company  which 
is  doing  a  Rin-tin-tin  dog  feature  for  Warner  Bros. 


Henry  Cronjager,  A.  S.  C,  is  photographing  Bebe 
Daniels  and  Richard  Dix  in  a  Paramount  production  be- 
ing made  in  New  York  City.     Exteriors  were  filmed  at 

Nassau. 

*  *     * 

Tony  Gaudio,  A.  S.  C,  is  filming  the  latest  Norma 
Talmadge  feature  which  Sidney  Olcott  is  directing. 

Henry  Sharp,  A.  S.  C,  has  finished  filming  "Tiger 
Thompson,"  a  Hunt  Stromberg  production  starring  Harry 

Carey  and   directed  by   Reaves  Eason. 

*  *     * 

Jackson  J.  Rose,  A.  S.  C,  has  finished  filming  the 
Universal  production,  "The  Measure  of  a  Man,"  directed 
by  Arthur  Rosson  and  starring  William  Desmond.  Many 
beautiful  scenes  were  made  at  Big  Bear  Lake. 

Mary  McAlister,  who  played  the  lead  in  this  produc- 
tion, was  photographed  by  Rose  when  she  was  playing 
baby  parts  as  "Baby  McAlister"  at  the  old  Essanay  com- 
pany in  the  pioneer  days.  Rose  must  have  made  50  pic- 
tures with  the  child  whom  he  was  afterwards  to  photo- 
graph as  a  leading  lady.  The  role  in  "The  Measure  of 
a  Man"  was  one  of  the  first  in  which  she  played  as  lead. 
Judging  the  future  by  the  past,  Rose  believes  that  Miss 

McAlister  is  one  of  the  coming  stars. 

*  *     # 

Karl  Brown,  A.  S.  C,  has  returned  from  a  location 
trip  to  Vancouver,  B.  C,  for  scenes  for  the  forthcoming 
James  Cruze  production   for  Paramount. 

Due  to  the  ingenuity  of  John  Arnold,  A.  S.  C,  KFI, 
a  Los  Angeles  broadcasting  station,  one  of  the  largest 
and  most  powerful  on  the  Pacific  Coast,  is  being  shown 
in  important  scenes  of  "The  Beauty  Prize,"  one  of  Viola 
Dana's  last  Metro  starring  pictures,  an  adaptation  of  a 
story  by  Nina  Wilcox  Putnam. 

It  is  the  first  time  a  real  broadcasting  studio  has  been 
used  in  a  screen  production,  it  is  said. 

The  station  is  located  on  the  top  floor  of  a  downtown 
building.  Director  Lloyd  Ingraham  had  first  planned  to 
have  a  reproduction  of  the  station  made  on  one  of  the 
stages  at  the  Metro  Studio.  Then  he  consulted  with 
John  Arnold,  the  cinematographer,  and  together  they 
visited  KFI  for  the  purpose  of  surveying  the  possibilities 
of   filming   the   scenes   there. 

Arnold  decided  that  studio  lights  and  other  electrical 
equipment  could  be  set  up  at  KFI.  The  result  was  that 
Miss  Dana,  Pat  O'Malley,  who  was  the  leading  male 
role  opposite  her,  and  other  players,  as  well  as  technical 
members  of  the  production  unit  visited  the  broadcasting 
station  late  one  night  after  the  regular  program  had  been 
delivered.  Three  nights  were  devoted  to  the  making  of 
the  radio  scenes,  all  with  A.  F.  Kales  of  KFI  acting  as 
technical  advisor. 

The  result  of  the  trouble  and  inconvenience  to  which 
the    director    subjected    his    company    and    himself    was 
technical  perfection  in  a  matter  with  which  more  than 
half  the  nation  is  expertly  familiar. 


Twenty-six 


AMERICAN      CI  NEM  ATOGR  APHER 


July,  1924 


RI 

May  23, 

iLEASES 

1924  to  June  15,  1924 

TITLE 

PHOTOGRAPHED  BY 

Borrowed  Husbands 

Steve  Smith,  Jr.,  member  A.  S.  C. 

The  Danger  Line 

Not  Credited 

Daring  Youth 

Charles  Van  Enger,  member  A.  S.  C. 

The  Chechahcos 

Raymond  K.  Johnson  and  Herbert  H.  B 

rownell 

Lily  of  the  Alley 

Not  Credited 

Sword  of  Valor 

Roland  Price 

The  Life  of  Dante 

Not  Credited 

After  a  Million 

Not  Credited 

Midnight  Blues 

George  Meehan,  member  A.  S.  C. 

Why  Men  Leave  Home 

Sol  Polito,  member  A.  S.  C. 

Men 

Alvin  Wyckoff 

The  Signal  Tower 

Ben  Reynolds 

Dorothy  Vernon  of  Haddon  Ha 

11         Charles  Rosher,  member  A.  S.  C. 

Don't  Doubt  Your  Husband 

John  Arnold,  member  A.  S.  C. 

Napoleon  and  Josephine 

Sydney  Blythe 

The  Woman  on  the  Jury 

James  C.  Van  Trees,  member  A.  S.  C. 

Broadway  After  Dark 

Char'es  Van  Enger,  member  A.  S.  C. 

Spirit  of  theU.  S.  A. 

Ross  Fisher,  member  A.  S.  C.  and  Leon 

Eycke 

The  Masked  Dancer 

Chas.  Davis  and  Neil  Sullivan 

The  Reckless  Age 

William  Fildew,  member  A.  S.  C. 

The  Fire  Patrol 

Silvano  Balboni 

A  Son  of  the  Sahara 

Robert  Kurrle,  member  A.  S.  C. 

Hold  Your  Breath 

Gus  Peterson  and  Alex  Phillips 

Code  of  the  Sea 

C.  E.  Schoenbaum 

The  Turmoil 

Charles  Stumar,  member  A.  S.  C. 

Why  Get  Married? 

Georees  Benoit,  member  A.  S.  C. 

The  Dangerous  Coward 

Ross  Fisher,  member  A.  S.  C. 

When  A  Girl  Loves 

Alvin  Wvcoff 

The  Gaiety  Girl 

Charles  Stumar,  member  A.  S.  C. 

The  Fighting  American 

Harry  Perry,  member  A.  S.  C. 

High  Speed 

Merritt  Gersted 

Miami 

Dal  Clawson 

T^e  Marriage  Cheat 

W»>nr"  Sharp,  member  A.  S.  C. 

The  Familv  Secret 

T<->r>~«  Stnrnar.  mermlhie*-  A.  S.  C. 

The  Sea  Hawk 

NorK^rt  Brodin,  member  A.  S.  C. 

The  Good  Bad  Boy 

Not  Crated 

Broadway  or  Bust 

VirpH  Miller 

Wandering  Husbands 

Ra"  lune 

The  Bedroom  Window 

I,.  Oi,v  Wjllr-.  member  A.  S.  C. 

There's  Millions  In  It 

Not  Credited 

The  Back  Trail 

Harry  Neumann 

The  White  Moth 

Arthur  Todd 

In  Fast  Company 

Wm.  Marshall,  member  A.  S-  C 

Western  Luck 

Toseoh  Brotherton.  member  A.  S.  C. 

"Those  Who  Dance 

Paul  Perrv,  member  A.  S-  C. 

Daughters  of  Pleasure 

Charles  Van  Enger,  member  A.  S.  C. 

HOW  TO  LOCATE  MEMBERS  OF  THE 

American 
Society  of  Cinematographers 

Phone  HOlly  44o4 
OFFICERS 


Gaetano  Gaudio 
Gilbert  Warrenton 
Karl  Brown 
Homer  A.   Scott 
Charles  J.  Van    Enger 
Victor   Milner 


President 
Vice-President 
J  ice-President 

V ice-Preside  nl 
Treasurer 
Secretary 


BOARD  OF  GOVERNORS 


Victor  Milner 

Philip  H.  Whitman 
James  C.  Van  Trees 
Frank  B.  Good 
H.  Lyman  Broening 


Horrrr  A.  Scott 
Fred  Jackman 

Charles  J.  Van  Enger 
Gaetano  Gaudio 

Gilbert  Warrenton 


King  D.  Gray 
Reginald  Lvons 
Paul  P.  Perry 
John  F.  Seitz 
Karl    Brown 


Hui." 
Rome,    Italy. 


ted 


\be!.  David— with  UVrnei  Brot!  e    . 

Arnold,  John — with  Metro  Goldwyn-Mayer  Picture  Corp. 

Barlatter,  Andre — 

B  1 1  iic-,  George  S. — with  Cosmopolitan,  New  York  City. 

Beckway,    Win, — 

Benoit,    Georges    - 

Broening,  H.  Lyman — with  Warner  Brothers 

Boyle,     John     W . — Chief     cinematographer, 

Charles    Brabin,    director;     "Cine  . 
Brodin,  Norbert  F.-   -Frank  Lloyd  Productions,  First  National,  Uni 

Studio  . 
Brotherton,    Joseph- — with    Fox    Studio. 
Brown,  Karl — with  James  Cruze,  Famous  Players-Lasky. 
Cann,    Bert — in    Europe. 

Clark,    Dan — with    Tom    Mix,    Fox    Studio. 
Corby,    Francis — with    Hamilton-White,    Vine    Aits    Studios. 
Cowling,    Herford    T. — Travel    Pictures,    Asia. 
Cronjager,  Henry— with  Famous  Players-Lasky,  New  York  City. 
Dean,    Faxon    M. — 

Doran,    Robert    S.— with    Hal    Roach   Studio. 
Dored,  John — Riga,  Latvia. 
Dubray.  foseph  A. — 
DuPar,  E.  B.— with  Fox. 
DuPont,    Max    B.— Tahiti. 

F.deson,     Arthur — with    Douglas     Fairbanks,     Fairbanks -Pick  ford    Studio. 
Evans,    Perry— 
Fildew,  Wm. — 

Fisher.    Ross   G.     -with    A.   j.    Brown    Productions,    Russell   Studio. 
Gaudio,  Gaetano — with  Norma  Talmadge,  Joseph  Schenck  Productions. 

United   Studio. 
G.Iks.  Alfred— 

Glennon,  Bert— with  Cecil  B.  De  Mille.  Famous  Players-Lasky. 
Good,  Frank  B. — with  Jackie  Coogan. 
Granville     Fred     L. — directing,        Britisl 

London. 
:  rray,    K  ing    I ). — 
Griffin.  Walter  L.— 
Guissart,    Rene — 
Mailer,    Ernesl  — 

Heimerl,  Alois  G. — with  Al  Davis  Prods. 
Jackman,  Floyd — with  Hal  Roach  Studio. 
[ackman.    Lied    W. --direct int.'.    Hal    Roach    Studio. 
Koenekamp,    Hans    F. — with    Larrv   Semon. 
Kull,   Edward— with   Universal   Studio. 


International       Corpo 


Kurrle.  Robert — with  Edwin  Carewe,  United  Studios. 
Landers,    Sam — -with    First    National,    United    Studio. 
Lockwood,    J.     R. — 

Lund  in,    Walter — with    Harold    Lloyd    Productions,    Hollywood    Studios. 
Lyons,    Reginald    E. — 

MacLean,    Kenneth    G. — with    Fox    Studio. 
Marshall,  Wm. — with  Carlos  Prods. 

Meehan.    ( Jeorge  —  with    Jack    White    Corporation,    Fine    Aits    Studio. 
Milner,  Victor — 

Morgan,  Ira  H. — with  Marion  Davies,  Cosmopolitan,  New  Yoik  City. 
New  hard,    Robert    S. — with    Nell    Shipman    Producl  ions,    Cool  in,    Idaho. 
Norton,  Stephen  S.^with  Universal  Pictures  Corp. 
Overbaugh,    Roy    F. — New    York    City. 
Palmer,    Ernest    S. — 
LePicard,   Marcel— New    York   City. 
Perry,  Harr> — 

Perry,  Paul  P. — with  Jack  Pickford,  Pickford-Fairbanks  Studio. 
Polito,  Sol— with  Hum  Stromberg  Productions. 
Ries,     Park    J.— 
Rizard,    George- — 

Rose,  lackson  [.- — Arthur  Rosson,  Universal. 

Rosher,    Charle — with    Mary    Pickford,    Pickfnrd-Fairbanks    Srud.o. 
Schneider  man,    George— wit  h    Fox    Studio. 
Scott,  Homer  A. — First  National,  United  Studios. 
Seitz,    John    F. — with    Rex    Ingram. 
Sh  up.    Henry — with   Thomas    H.    I  nee. 
Short,    Don — 

Smith,    Steve,    Jr.- -with    Vitagraph    Studio. 
Steene,    F.    Burton — New    York    City. 
"•tn mar,    John — with    I Ini versa  1    Studio. 
St  umar,    Charles — with    Universal    Studio. 

Tolhurst,     Louis    IJ. — "Secrets    of    Life."    Microscopic    Pictures,    Princi- 
pal   Pictures    Corporation. 
Totheroh,    Rolhe    1L — with   Charlie   Chaplin,    Chaplin    Studio. 
Van    Buren.    Ned — New    York    City. 

Wan  Enger,  Charles — with  Ernst  Lubitsch.  Warner  Brothers. 
Van  Trees,  James  C. — -with  First  National,  United  Studios. 

Walters,    R.     W.- — with    Mack    Sennett       Productions,       Mack       Sennett 

Studio. 

IVarrenton,  Gilbert— with  Blache,  Universal  City. 
Whitman,     Philip    II. — with    Cosmopolitan,     New    York    City. 
Wilky,  L.  Guv    -with  W  illiam  de  Mille.  Famous  Players-Lasky. 


Edison,    Thomas    A.— I h inorary    Member. 
Webb.    Arthur    C. — Attorney. 


Meetings    of    the    American    Society    of    Cinematographers    are    held    every   Monday    evening.    On    the    first    and    the    third    Monday   of    each    month 
the    open    meeting    is    held;    and    on    the    second    and    the    fourth,   the    meeting    of    the    Board    of    Governors. 

Address    until   completion    oj    new   Guaranty   Building 
1103    NO.   EL  CF.NTRO  AVENUE 
Holli  w  con,  Calhoun  r  a 


LOYALTY 


PROGRESS 


ART 


Vol.  V 

No.  5 


August,  1924 


25   cents 
A   Copy 


^^^^V^Sf^N^ 


American 


Cinematographer 

Published  by  the  American  Society  of  Cinematographers,  Inc. 


Film  Psychology  &  "The  Ten  Commandments" 
By  Bert  Glennon,  A.  S.  C. 

"The  Sea  Hawk's"  Cinematography 

By  J.  L.  Johnston 

Pictorial  Art  Soaring 

By  Edwin  Schallert 

Manhattan  Mutterings 

By  Philip  H.  Whitman,  A.  S.  C. 


PUBLISHED  IN      HOLLYWOOD     CALIFORNIA 


RELEASES 


June  15,  1924  to  August  23,  1924 


TITLE 

The  Spitfire 

Tiger  Love 

True  as  Steel 

A  Self  Made  Failure 

The  Guilty  One 

Down  by  the  Rio  Grande 

Dark  Stairways 

For  Sale 

Unguarded  Women 

Daring  Love 

Revelation 

The  Perfect  Flapper 

Behind  the  Curtain 

Traffic  in  Hearts 

The  Sixth  Commandment 

Changing  Husbands 

Swords  and  the  Woman 

The  Valley  of  Hate 

What  Shall  I  Do 

Romance  Ranch 

The  Arab 

Love  of  Women 

The  Heart  Buster 

Missing  Daughters 

The  Code  of  the  Wilderness 

Young  Ideas 

The  Lone  Chance 

The  Enemy  Sex 

Recoil 

Montmarte 

Captain  January 

Wanderer  of  the  Wasteland 

The    Sawdust    Trail 

Wine  of  Youth 

The  Lure  of  the  Yukon 

Yankee  Speed 

Fools  in  the  Dark 

Bread 

Babbitt 

The  Other  Kind  of  Love 

Rarin'  To  Go 

Along  Came  Ruth 


PHOTOGRAPHED  BY 

Walter  Arthur  and  Jack  Brown 

Charles  G.   Clarke 

John  Mescall 

Ray  June  and  B.  McGill 

Faxon  Dean,  member  A.  S.  C. 

Roland  Price 

William  Thornley 

Fred  Stanley 

Henry  Cronjager,  member  A.  S.  C. 

Oliver  Marsh  and  J.  Diamond 

John  Arnold,  member  A.  S.  C. 

James  C.  Van  Trees,  member  A.  S.  C. 

Jackson  J.  Rose,  member  A.  S.  C. 

Lucien  Andriot 

Philip  Armand  and  Wm.  Tuers 

Bert  Glennon,  member  A.  S.  C. 

J.  Rosenthal,  Jr 

Ernest  Miller 

Joseph  Walker 

Bert  Baldridge 

John  F.  Seitz,  member  A.  S.  C. 

Edward  Paul 

Dan  Clark,  member  A.  S.  C. 

Ray  June 

Not  Credited 

Jackson  J.  Rose,  member  A.  S.  C. 

Bert  Baldridge 

Karl  Brown,  member  A.  S.  C. 

Rene  Guissart,  member  A.  S.  C. 

Not  Credited 

Not  Credited 

Arthur  Ball 

Virgil  Miller 

John  Mescall 

George  Madden 

Elbert  McManigal 

Blaker  Wagner  and  Leon  Eycke 

Not  Credited 

David  Abel,  member  A.  S.  C. 

Roland  Price 

Not  Credited 

John  Arnold,  member  A.  S.  C. 


Vol.   5  AUGUST,   1924  No.   5 

American 
Cinematographer 

Foster  Goss,  Editor  and  Business  Manager 
Board  of  Editors — Victor  Milner,  H.  Lyman  Broeninc,    Karl    Brown,    Philip    H.    Whitman 
Alfred  B.  Hitchins,  Ph.  D.,  F.  R.  P.  S.,  F.  R.  M.  S.,  F.  C.  S.,  Associate  Editor  and  New  York 
Representative,  33  West  60th  S  reet,  Room  602,  New  York  City 


Contents 


Page 


Pictorial  Art  Soaring — By  Edwin  Schallert 


Film  Psychology  and  "The  Ten  Commandments" — 

By  Bert  Glennon  .......  5 

Cinematographers  and  the  Feature        ....         7 
Manhattan  Mutterings — By  Philip  H.  Whitman  8 

New  York  Strong  Lure  to  A.  S.  C.  Members    ...         9 

The  Editors'  Lens 10 

"The  Sfa  Hawk's"  Cinematography — By  J.  L.  Johnston        12 

PvED  Goes  to  Hell 

New  Headquarters  Almost  Finished 

Famous  Cinematographic  Sextet  In  New  Laurels 

In  Camerafornia 

A.  S.  C.  Roster 


13 
20 
25 
26 
27 


An  educational  and  instructive  publication,  espousing  progress    and   art   in   motion   picture   photography. 

Published  monthly  by  THE  AMERICAN   SOCIETY    OF    CINEMATOGRAPHERS,    Inc. 
Subscription  terms:  United  States,  $3.00  a  year;  Canada,  $3.50  a  year;  foreign,  $4.00  a  year;  single  copies 

25  cents.     Advertising  rates  on  application. 
Hollywood,  California  Telephone  Hollywood  4404 

(Copyright,  1924,  by  The  American  Society  of  Cinematographers,  Inc.) 


Fout 


AMERICAN      CINEMATOGRAPHER 


August,  1924 


Pictorial 
Art  Soaring 

The  article  re-printed  herewith 
appeared  originally  in  the  Sunday 
motion  picture  section  of  the  Los 
Angeles  Times  of  which  Mr.  Schal- 
lert  is  drama  and  music  editor.  Mr. 
Schallert's  analysis  of  the  present-day 
state  of  cinematography  is  to  be  re- 
garded as  that  of  an  authority,  as  in 
his  meritorious  association  with  the 
Times  and  as  a  feature  writer  for 
national  magazines  he  has  long  been 
recognized  as  one  of  the  most  accur- 
ate  students    of    the    trends   and    the 


More  and  more  am  I  convinced  of 
the  fact  that  this  is  to  be  a  time  of 
great  pictorial  discoveries  in  the  films. 
"The  Thief  of  Bagdad"  represents 
extraordinary  evidence  of  this,  and 
though  the  fantastic  type  of  produc- 
tions that  may  follow  will  probably 
be  very  few  in  number,  it  is  conceiv- 
able that  they  will  add  much  to  the 
imaginative   power   of   photography. 

The  camera  is  in  some  respects 
the  heart  of  the  screen  art.  Too  little 
space  is  generally  given  to  it  in  the 
consideration  of  what  goes  to  make 
pictures.  Meanwhile,  its  develope- 
ment  has  proceeded  at  such  a  remark- 
able rate,  that  almost  anything  may 
come  within  its  vision  now.  I  believe 
too,  that  it  is  due  for  an  even  more 
startling  advancement  within  the  next 
few  years,  and  that  this  advance  will 
goo  far  to  solve  the  conglomerated 
riddle  which  films  as  an  art  so  often 
present. 

One  thing  certain  the  literary  in- 
fluence in  pictures  is  rapidly  subsid- 
ing. It  will  subside  even  more  if  pic- 


By  Edwin  Schallert 


Drama  Editor  of  Los  Angeles 
Newspaper  Pays  Great 

Tribute  to  the  Camera 


tendencies  of  the  cinema. 

It  is  interesting  to  note  that  John 
F.  Seitz,  whose  cinematography  in 
Rex  Ingram's  productions  is  pointed 
out  by  Mr.  Schallert  is  a  member 
of  the  American  Society  of  Cinema- 
tographers,  having  been  first  vice- 
president  of  the  Society  during  the 
past  year.  Likewise,  the  pictorial  tri- 
umphs of  Douglas  Fairbanks'  "The 
Thief  of  Bagdad,"  mentioned  by  Mr. 
Schallert,  may  be  said  to  represent 
an  A.  S.  C.  triumph  inastnuch  as  the 


tures  like  the  "Thief  of  Bagdad"  are 
a  success.  This,  however,  is  problem- 
atical now,  because  it  remains  to  be 
seen  how  popular  such  unique  enter- 
tainment will  turn  out  to  be. 

However,  there  are  other  signs 
and  wonders  that  have  testified  to 
the  powers  of  the  photographic  mech- 
anism. Cecil  De  Mille  showed  what 
it  could  do  in  the  glimpses  of  the 
opening  and  the  closing  of  the  Red 
Sea  in  "The  Ten  Commandments." 
It  is  significant,  I  feel,  that  Roy  J. 
Pomeroy,  who  actually  was  responsible 
for  this  mechanical  side  of  this  il- 
lusion, has  been  mentioned  as  the  co- 
director  of  "Peter  Pan,"  for  it  shows 
the  new  trend. 

Rex  Ingram  in  a  different  way 
has  already  made  the  camera  relate 
a  wonderfully  beautiful  message,  or 
at  least  he  has  utilized  the  powers 
which  lay  within  its  scope  by  provid- 
ing the  opportunity  for  his  cinema- 
tographer,  John  F.  Seitz,  to  secure 
the  most  attractive  and  artistic  pic- 
ture imaginable. 


cinematography  therein  is  the  result 
of  the  efforts  of  Arthur  Edeson,  A.  S. 
C,  staff  cinematographer  for  Fair- 
banks productions,  in  association  with 
Philip  H.  Whitman  and  Kenneth 
MacLean,  both  A.S.C.  members  who 
worked  with  Edeson  on  the  vehicle. 
The  cinematographic  phases  of  Cecil 
De  Mille' s  "The  Ten  Command- 
ments," cited  by  Mr.  Schallert,  were 
the  work  of  Bert  Glennon,  A.  S.  C, 
who  created  a  pictorial  masterpiece 
in  the  De  Mille  production. 


There  are  few  films  on  the  screen 
of  course,  that  can  stand  the  test  which 
might  be  applied  to  some  of  Ingram's. 
In  his  case  I  believe  that  you  could 
stop  the  reel  at  ahnost  any  point  and 
have  a  complete  and  beautiful  pic- 
torial impression  very  like  a  painting. 

Ingram's  productions,  however,  as 
a  whole,  are  inclined  to  be  too  static. 
He  sees  things  too  much  from  the 
viewpoint  of  the  plastic  artist,  the 
sculptor  or  the  painter.  What  one 
misses  is  the  full  and  complete  rev- 
elation of  dramatic  motion. 

The  development  cannot  success- 
fully be  one-sided.  It  has  been  here- 
tofore. Pictorial  art  has  been  sub- 
merged under  too  many  less  important 
considerations. 

The  present  tendency,  in  the  op- 
posite direction,  will  doubtless  also 
go  to  some  extremes.  But  just  now, 
I  believe,  there  is  plenty  of  reason 
for  concentration  of  interest  on  the 
growth    of   motion    photography. 


A  composite  motion  picture  of  American  industry  was 
shown  during  the  London  convention  of  the  Associated 
Advertising  Clubs  of  the  World. 

This  part  of  the  convention    program    was    the    con- 
tribution of  the  Screen  Advertisers  Association  which  is 
the  screen  department  of  the  Associated   Clubs. 
Various  Contributions 

Various   practical   picture   producers,    members   of   the 
Screen  Association,  contributed  scenes  to  the  picture,  com- 
piling it  with  a  view  to  making  the  complete  picture  a 
"birdseye  view"  of  American  industries. 
Similar  Picture 

The  British  Screen  Association  in  turn  had  a 
similar  picture  to  exhibit  visualizing  English  industries. 
The  British  Association  was  organized  only  several  months 
ago  so  that  the  English  film  fraternity  could  do  the  hos- 


pitable  things  toward   their  American  brethern. 

Rothacker   Unable  to  Attend 

Pressure  of  business  prevented  the  attendance  of 
the  Screen  Association  president,  Douglas  D.  Rothacker 
who  heads  the  commercial  film  division  of  the  Rothacker 
Film  Manufacturing  Company.  The  American  screen 
delegation  was  led  by  the  Association  Vice-President, 
Maurice  Caplan,  president  of  the  Metropolitan  Motion 
Picture  Company   of   Detroit. 

Speakers 
Among  the  speakers  on  the  Screen  Assocation's  program 
was:  Bennett  Chappie,  Publicity  director  American  Roll- 
ing Mills  Company;  A.  V.  Cauger,  United  Film  Adver- 
tising Service  of  Kansas  City;  Charles  Hatfield  of  the 
St.   Louis  Convention   Bureau. 


August,  1924 


AMERICAN      CINEMATOGRAPHER 


Five 


Film  Psychology  &  "The  10  Commandments" 


Cinematographic  Idea  Must 
Be  Caught  by  Eye  of  Camera 
or  Meaning  of  Action  Lost. 


By   Bert  Glennon,   A.   S.   C. 


A.  S.  C.  Man  Gives  Cine- 
matographers'  Angle  on  De 
Mille's   Master   Creation. 


An  example  of  lightings  designed  to  convey  the  idea 
of  depression  and  awe.  This  is  the  interior  of  the  temple, 
at    'ight,  in   "The    Ten   Commandments." 

First  of  all  let  us  analyze — "What 
is  an  idea?";  and — "How  do  we  go 
about  photographing  it?"  An  idea,  we 
may  say,  is  a  thought  or  a  manifest- 
ation of  mind,  and  the  camera  is  one 
of  the  means  of  its  expression. 

So  we  find  it  necessary  to  manifest 
our  thoughts  for  the  camera.  Let  us 
follow  the  course  of  an  idea  and  see 
where  it  ends — rather  see  where  we 
think  it  ends,  for  I  don't  believe  an 
idea  has  an  end — we  just  forget  it  or 
use  it  as  a  foundation  for  new  ideas. 
The  Idea 

Take,  for  instance,  the  recent  pro- 
duction of  Cecil  De  Mille— "The 
Ten  Commandments."  Some  one  was 
paid  a  great  amount  of  money  for  sug- 
gesting that  episode  of  our  first  his- 
tory as  material  for  a  motion  picture 
production.  There  was  the  idea — so 
we  will  follow  through  and  just  touch 
here  and  there  for  illustation. 
Reaching   The  Camera 

First,  let  us  realze  that  thought  is 
the  most  powerful  energy,  both  known 
and  unknown,  and  still  the  "simplest 
of  the  simplest."  The  more  its 
strength  is  felt,  the  more  truthful  is 
its  manifestation.  Take  head,  there- 
fore, Mr.  Director.  Always  stand  in 
back  of  your  camera  and  if  the 
thought  of  your  story  as  manifested 
by  your  set  and  actors  reaches  you, 
you  can  be  sure  it  reaches  the  camera. 


Lighting's  Help 

The  first  illustration  is  that  of  the 
opening  episode  of  "The  Ten  Com- 
mandments." The  idea  there  was  — 
slavery — torture — broken  spirit —  de- 
pression and  tyrany.  Did  that 
thought  reach  the  camera  ?  And  was 
it  not  enhanced  by  atmospheric  photo- 
graphic lighting?  There  is  at  this 
moment  another  picture  being  shown 
in  which  I  know  the  same  thought 
was  to  be  manifested.  Did  that 
thought  "get  over"  as  we  choose  to 
term  it? 

In  other  words  did  we,  who  looked 
at  it,  have  at  any  time  the  feeling 
of  great  sympathy  for  those  miserable 
creatures?  No!  We  were  looking 
at  a  picture — a  spectacle — we  did  not 
realize  the  intimacy  that  should  have 
been  felt.  We  did  not  feel  a  great 
gratitude  that  we  did  not  have  to  en- 
dure this  torture.  And  why?  Because 
the  idea  or  thought  did  not  quite  reach 
the  camera.  Each  and  every  one  of 
those  men  did  not  make  themselves  be- 
lieve they  were  slaves  and  hopeless. 
They  were  earning  a  daily  check  and 
wishing  for  something  to  delay  pro- 
duction so  as  to  obtain  more  of  those 
daily  checks.  The  photography  con- 
fessed the  attitude  of  "get  an  expos- 
ure on  the  film,"  whereas  shadows 
well  placed  would  have  enhanced  the 
idea  of  depression.   This  picture,  how- 


An  illustration  of  the  day  shot  in  the  same  temple. 
Note  honv  the  effect  has  been  carried  through  by  virtue 
of  the   medium   of  lighting. 

ever,  is  an  interesting  one  and  should 
be  seen,  and  I  criticised  only  that  one 
point  to  bring  home  the  fact  that  an 
idea   was   not   photographed. 

Story  and  Model  Studied 
Again  to  refer  to  Mr.  De  Mille's 
picture  we  will  recall  the  episode  in 
the  throne  room  of  Rameses  II.  The 
set  was  immense  and  the  story  called 
for  three  distinct  light  changes — one 
of  day,  one  of  night,  and  one  of  early 
morning.  The  first  thing  I  did  was 
to  get  acquainted  thoroughly  with 
the  story  leading  up  to  and  away  from 
these  three  episodes.  Having  done 
that,  I  studied  the  model  of  the  set 
that  the  art  director  had  submitted 
for  Mr.  De  Mille's  approval. 

Avoiding    the    "Stagey" 

The  first  episode  was  the  first 
time  the  audience  saw  the  set  upon 
the  screen.  So  my  thoughts  were  busy 
as  to  how  I  could  impress  them  with 
the  idea  of  tryanny — wealth — artist- 
ocracy  and  strength,  making  them  also 
feel  that  they  were  in  the  presence  of  a 
king.  Most  important,  I  had  to  elim- 
inate the  "feeling"  of  a  motion  pic- 
ture set. 

Awing  the  Audience 

The  next  episode  was  that  of  the 
death  of  Pharoah's  son  as  prophesized 
by  Moses.  It  was  night,  and  the  feel- 
ing of  awe  and  grief  and  death  had 


Six 


AMERICAN      CINEMATOGRAPHER 


August,  1924 


*« 


Top,  left:    Bert   Glennon,  A.  S.  C. 

Top,  right:  Shadows  cast  by  means 
of  skillful  lighting.  This  is  the  in- 
terior of  the  church  during  the  course 
of  construction  in  "The  Ten  Com- 
mandments." 

Bottom,  right:  Getting  over  the  idea 
of  "oppression." 


« 


to  be  immediately  brought  to  the  lap 
of  the  audience.  Those  were  inter- 
esting and  happy  days  for  the  cinema- 
tographer.  I  was  at  last  painting  with 
arc  lights. 

The  next  change  was  that  to  the 
early  morning.  Pharoah  had  grieved 
before  the  alter  of  his  gods,  and,  in 
a  spirit  of  revenge,  denounces  them 
and  calls  for  his  army.  The  tempo 
increased  and  every  person  had  to 
feel  the  excitement  reigning  within 
this  palace.  This  time  the  set  must 
be   pictured    in    all    its   strength    and 


power.  There  must  be  immense  bright 
spots  of  light  that  blend  into  soft 
shadows.  Mr.  De  Mille  alloted  three 
days  for  all  this  work,  so  lights  were 
placed  so  that  by  turning  off  a  speci- 
fied number  I  had  one  effect,  etc. 
thereby  saving  time  so  as  not  to  lose 
the  spontaneity  of  direction  and  act- 
ing. 

Psychological  Undertaking 
It  appears,  therefore,  that  the  pho- 
tographing of  an  idea   is  very  much 
of  a  psychological  undertaking.     The 
cinematographer,   as  well  as  the  dir- 


ector, must  be  imbued  with  the  feel- 
ing of  the  particular  action  in  ques- 
tion if  the  desired  effect  is  to  be  work- 
ed on  the  audience. 

The  cinematographer  can  no  more 
classify  his  lighting  effects  and  say  that 
"I  shall  use  such-and-such  an  arrange- 
ment of  lights  to  portray  oppression, 
or  joy  etc.",  no  more  than  the  player 
can  hit  upon  some  series  of  facial  ex- 
pressions which  may  be  invariably 
whipped  into  play  to  express  respect- 
ively, "joy,"  "sorrow,"  "grief,"  etc. 
(Continued  on  page  21) 


August,  1924 


AMERICAN      CINEMATOGRAPHER 


Seven 


Cinematographers 

and  the  Feature 


Exhibitors  Herald  Story 

Indicates  Photography's 

Part  in  Film  Progress 


^  The  following  article,  written  by  the  editor  of  the  American  Cinematographer,  appeared    in    the    annual    studio 
number  of  the  Exhibitors  Herald. 


The  camerman  does  more  than  merely  turn  the  crank. 

"Bromidic" — the  impatient  one  will  say — "we  all  know 
that." 

But  do  we?  Do  those  who  work  in  the  film  business 
every  day  fully  realize  the  responsibility  that  is  the  cine- 
matographer's?  Or  does  the  subconscious  conception  of 
the  cameraman  as  a  cross  between  a  crank-turner  and 
some  sort  of  mechanic  still  persist,  spasmodic  acknowledge- 
ment of  his  accomplishments  notwithstanding. 

We  speak  with  complacency  of  the  cinema's  being  one 
of  the  world's  greatest  industries  and  of  its  being  the  new- 
est of  the  arts. 

•  Who,  basicly,  has  been  responsible  for  this  remarkable 
progress?  "The  cameraman,"  some  one  timidly  suggests, 
and  he  is  gazed  upon  in  blank  amazement.  The  camer- 
man, yes,  the  cameraman — regarded  as  matter  of*  fact  as 
the  sun,  or  rain  when  there  is  no  danger  of  drought.  But 
if  the  sun  wouldn't  shine,  when  the  rain  holds  aloof — 
that's  a  different  story. 

With  the  crude  stage  of  the  preliminary  inventions 
placed  in  the  cinematographer's  hands  hardly  a  score  of 
years  ago,  perhaps  not  enough  time  has  passed  for  the 
cinematographic  profession  to  be  established  in  general 
appreciation — the  law  was  old  at  the  time  of  the  Year 
Books;  painting  has  struggled  through  centuries. 

Nevertheless,  the  close  and  not  erratic  student  will  de- 
clare, that  the  present  age  of  the  "super  feature"  would 
be  impossible  if  the  camerman — and  the  camerman  alone 
— had  not  made  the  many  achievements  that  he  has  made 
in  the  past  several  years.  Where  would  such  productions 
as  "The  Thief  of  Bagdad,"  "The  Lost  World,"  and  a 
host  of  others  be,  if  they  were  robbed  of  those  phases  in 
them  that  have  come  into  being  strictly  through  the  ac- 
complishments of  the  cinematographer.  But  those  ac- 
complishments, however,  have  become  as  matter  of  fact  as 
the  cameraman  himself.  They  are  no  longer  hoped  for, 
but  expected. 

What  would  have  happened  if  the  cinematographers 
as  a  class  had  been  non-progressive,  if  they  were  content 
to  draw  their  weekly  stipend  and  settle  down  into  the  rut 
of  "just  a  job  ?"  How  would  the  present  day  productions 
fare  on  a  diet  of  1908  photography?  Or  would  the  stage 
of  present  production  have  been  arrived  at  all — with  a 
non-flexible,  non-progressive  "art"  having  circumscribed 
any  advance  long  ago.  It  is  realized  perfectly  that  high 
powered  organization  and  brilliant  talent  have  proved 
the  life-blood  of  the  moving  picture  industry.  But  would 
necessary  capital  or  powerful  names  have  been  attracted 
to  the  cinema  if  the  industry  at  best  could  have  depended 
on  an  imperfect  medium — namely  undependable  photog- 
raphy? No  intelligent  consideration  can  deny  the  funda- 
mental importance  of  the  truly  spectacular  improvement 
of  photography. 

What  has  been  behind  this  improvement?  Laurels  as 
an  inventor  for  the  cinematographer,  either  in  finances  or 
in  renown?    Noble  prizes?    No,  none  of  them.    It  was  all 


in  a  day's  work.  The  representative  cinematographer,  in- 
terested always  in  his  calling  seeks  the  chance  to  make  a 
new  cinematographic  creation  and  does  it.  It  reaches  the 
screen  and  his  fellow  artists,  looking  at  the  production,  not 
for  entertainment  but  with  a  student's  interest,  observe 
the  new  creation  and  work  to  embody  it  when  the  occasion 
demands  in  the  forthcoming  productions  of  their  employ- 
ers. What  happens  for  the  cinematographer  who  has  dis- 
covered the  new  creation?  Is  he  hailed  far  and  wide  for 
his  brilliance?  No,  if  the  event  is  noted  at  all,  it  probably 
is  to  give  credit  to  his  employer  for  it. 

And  so  creation  after  creation  has  come  and  enhanced 
the  value  of  motion  pictures — enhanced  the  value  for  every 
one  identified  with  them.  Accomplishment  after  accomp- 
lishment, taken  in  the  aggregate,  have  made  possible  an  art 
in  such  a  short  period  of  time  that  students  of  the  histsory 
of  arts  are  astounded. 

But  is  the  cinematographer's  participation  therein  on 
the  lips  of  all  those  who  view  motion  pictures?  Hardly 
when  in  some  quarters  he  is  not  regarded  as  of  sufficient 
importance  to  allow  his  name  to  remain  on  the  credit  titles 
or  to  mention  him  even  in  the  program.  His  art  may  be 
paid  for — if  such  pay  may  be  reckoned  in  dollars  and  cents 
— but  it  isn't  appreciated.  At  any  rate,  his  present  remun- 
eration, attractive  though  it  may  sound  in  rarer  instances, 
is  not  proportionate  with  that  accorded  him  in  the  early 
days  when  pictures  were  really  in  "their  infancy."  But 
he  may  take  some  solace  in  the  fact  that  Milton  is  said  to 
have  wrote  "Paradise  Lost"  for  fifty  dollars. 

Perhaps  the  day  is  coming  when  the  cinematographer 
will  be  regarded  as  something  other  than  "just  a  camera- 
man, just  another  film  worker."  At  any  rate,  the  day 
seems  nearer  than  it  was  five  years  ago,  but  the  appreci- 
ation of  the  cinematographer  is  still  far  from  keeping 
pace  with  the  progress  with  which  he  continues  to  imbue 
the  cinema  from  year  to  year. 


Production  Starts  on 


Novelty   Picture 


Chester  Franklin  has  begun  production  on  "The  Silent 
Accuser,"  a  novelty  picture  written  for  the  screen  by 
Mr.  Franklin  and  Frank  O'Connor.  It  is  being  pro- 
duced by  Metro-Goldwyn-Mayer  under  the  supervision 
of  Harry  Rapf. 

The  large  cast  is  headed  by  Eleanor  Boardman,  Ray- 
mond  McKee  and   Earl   Metcalfe. 

One  feature  of  the  story  is  the  introduction  to  the 
screen  of  Peter  the  Great,  famous  German  police  dog 
brought  to  this  country  recently.  Its  owners  have  been 
training  the  beautiful  dog  for  picture  work  for  more 
than  two  years. 

The  dog  plays  an  important  part  in  the  story,  and  helps 
materially  in  untangling  the  complicated  plot.  "The 
Silent  Accuser"  is  a  mystery  melodrama. 


Eight 


AMERICAN      CINEMATOGRAPHER 


August,  1924 


Manhattan  Mutterings 


By  Philip  H.  Whitman,  A.  S.  C. 


That  Convention 

CflAll  things  must  come  to  an  end  and 
so  it  was  with  the  Democratic  conven-  • 
tion  just  finished  here.  With  the  return 
home  of  the  poorer  and  wiser  delegates, 
things  are  again  normal  and  we  are  able 
to  settle  down  to  a  little  steady  picture 
making. 

Speaking  of  the  convention,  at  the  ses- 
sion which  the  writer  attended,  they  had 
just  begun  to  ballot  for  a  presidential 
nominee  when  somebody  up  in  the  gal- 
leries yelled,  "Hurrah  For  McAdoo!" 
His  hat  was  promptly  knocked  over  his 
eyes. 

As  everyone  is  supposed  to  cheer  for 
somebody,  I  thought  to  play  safe  and 
shouted,  "Hurrah  for  the  A.  S.  C." 
They  put  me  out  of  Madison  Square 
Garden  thinking  I  was  trying  to  organize 
a  new  secret  hooded  order  in  opposition 
to  the  K  K  K. 

Off  for  the  Coast 

CJJJoe  Morgan,  A.  S.  C,  and  George 
Barnes,  A.  S.  C.,  having  finished  Marion 
Davies'  latest  Cosmopolitan  production, 
"Janice  Meredith"  are  leaving  soon  for 
California  where  Miss  Davies'  next  ve- 
hicle is  to  be  filmed.  Morgan  and  Barnes 
are  to  be  congratulated  upon  their  photo- 
graphy in  "Janice  Meredith,1'  following 
the  favorable  reviews  given  the  picture 
here  at  its  premiere. 

Hats  Off,  Boys 

fj  Hats  off,  boys,  to  Miss  Louella  Parsons, 
motion  picture  critic  on  the  New  York 
American.  Here  is  one  critic  who  real- 
izes the  importance  of  the  cinematog- 
rapher  and  believes  in  giving  credit  when 
due.     Never  a  review  of  Miss  Parsons' 


but  what  she  touches  on  the  photographic 
quality  of  the  production,  often  mention- 
ing the  cinematographer  by  name.  As 
Miss  Parsons  is  recognized  as  an  auth- 
ority, this  means  much. 

Pushing  Production 
tfl  Activity  at  the  Long  Island  studios  of 
Famous  Players-Lasky  is  becoming  pro- 
nounced with  the  starting  this  month  of 
several  producing  units. 

Frank  Tuttle  has  been  assigned  the 
direction  of  "Dangerous  Money,"  star- 
ring Bebe  Daniels  and  will  have  Henry 
Cronjager,  A.  S.  C,  behind  the  camera. 

"Manhattan,"  the  next  vehicle  for 
Richard  Dix  is  to  be  directed  by  R.  H. 
Burnside  with  Hal  Rosson  responsible 
for  the  photography. 

Allan  Dwan  is  soon  to  start  work  on 
Gloria  Swanson's  new  picture,  "Wages 
Of  Virtue"  and  will  again  have  George 
Webber  at  the  camera. 

Alan  Crosland  is  at  present  busily  en- 
gaged on  his  "Sinners  In  Heaven,"  while 
Joe  Henaberry  is  finishing  up  Valentino's 
last  picture  for  Famous  Players.  It  is 
understood  that  hereafter  he  is  to  make 
his  own  productions  in  the  independent 
field. 

Another  A.  S.  C.  Triumph 

IjJThe  work  of  John  Seitz,  A.  S.  C,  in 
Rex  Ingram's  latest,  "The  Arab,"  is  be- 
ing lauded  here  following  the  opening  of 
that  production  at  the  Capitol  Theatre. 
This  is  the  picture  which  carried  the  Ing- 
ram organization  to  Tunis  and  North- 
western Africa  for  locations.  John  ex- 
pects to  again  cross  the  pond  in  the  near 
future  as  Mr.  Ingram  has  several  pro- 
ductions under  consideration  which  call 
for  foreign  locales. 

(Continued  on  page  23) 


August,  1924 


AMERICAN      CINEMATOGRAPHER 


Nine 


George  Barnes,  A.  S.  C. 


E.  Burton  Steene,  A.  S.  C. 


John  F.  Seitz,  A.  S.  C. 

New  York   Strong 

Lure  to  A*S*C. 

Members 


Frank  B.  Good,  A.  S.  C. 


New  York  City  is  holding  strong 
attractions  for  A.  S.  C.  members 
these  days,  or,  more  specifically,  for 
the  production  companies  with  which 
they  are  affiliated. 

Word  comes  that  Philip  H.  Whit- 
man, A.  S.  C,  who  went  to  Man- 
hattan on  the  completion  of  Douglas 
Fairbanks'  "The  Thief  of  Bagdad" 
on  which  he  and  Kenneth  MacLean, 
A.  S.  C,  were  associated  on  special 
work  with  Arthur  Edeson,  A.  S.  C, 
has  left  Cosmopolitan,  which  outfit 
he  joined  on  going  to  New  York,  and 
has  become  affiliated  with  Famous- 
Players-Lasky  at  the  Paramount  Long 
Island  Studios. 

Whitman  is  organizing  a  complete 
miniature  and  trick  camera  depart- 
ment of  which  he  will  be  in  complete 
charge.  It  will  be  the  purpose  of 
Whitman's  department  to  effect  big 
photographic  creations  through  the 
medium  of  some  of  the  Western 
tricks  of  the  trade  which  heretofore 
the  Eastern  companies  have  been  un- 
(Continued  on  page  21) 


Ira  H.  Morgan,  A.  S.  C. 


Guy  Wilky,  A.  S.  C. 


Bert  Glennon,  A.  S.  C. 


Ten 


AMERICAN      CINEMATOGRAPHER  August,  1924 

The  Editors'  Lens  -  -  -  f°cused  by FosTER  Goss 


C]j  Occasionally  there  comes  a  production  to  which  cinematography 
is  so  obviously  vital  that  even  the  most  casual  observer  cannot 
help  but  recognize  it  as  a  "photographic  picture."  When  we 
say  "photographic  production"  we  do  not  wish  to  be  ambiguous 
but  simply  are  aiming  to  stress  the  outstanding  importance  of 
cinematography  in  some  productions.  Of  course  the  careful  ap- 
praiser of  motion  pictures  has  always  recognized  the  essential 
importance  of  photography  even  in  the  face  of  those  who,  from 
self-interest,  would  minimize — but  the  fates  be  thanked  for  the 
"photographic  productions."  They  serve  others  besides  their  own 
masters. 

O  Pictures  like  "The  Ten  Commandments,"  "The  Thief  of  Bagdad" 
and  "The  Sea  Hawk"  are  undying  testimonials  to  the  art  of  the 
cinematographer.  They  indicate,  in  a  vivid  way,  abilities  which 
the  layman  seldom,  if  ever,  appreciates.  They  bring  the  gala 
days  for  the  cinematographer — provided  of  course  he  is  given 
credit  in  conjunction  with  the  "photographic  production"  in 
question.  Perhaps  he  is  given  a  mention  in  the  reviews;  if  he 
is  not  singled  out  personally,  then  at  least  there  are  a  few  lines 
devoted  to  his  cinematography — something  which  even  the  most 
slip-shod  reviewer  could  not  safely  ignore  as  long  as  he  had  any 
conscience  at  all. 

Q  These  big  "photographic  productions"  do  more  than  earn  money 
for  their  producers  and  exhibitors,  fame  for  their  stars  and  di- 
rectors, and  a  bit  of  praise  for  the  cinematographers  who  filmed 
them.  They  indirectly  stimulate  the  appreciation  for  superior 
cinematography  generally.  They  serve  to  bring  home  the  fact 
that  there  is  something  to  being  a  cinematographer  besides  turn- 
ing the  old  proverbial  crank. 

I]j  Thoroughly  grounded  motion  picture  and  drama  editors  have 
never  been  blind  to  the  unvarying  worth  of  cinematography.  They 
have  always  been  cognizant  of  the  back-stage  endeavors  and  trials 
of  the  cinematographer  that  from  time  to  time  are  crystalized  in 
some  production  of  overpowering  photography.  And  they  are 
not  timid  about  singling  those  endeavors  out  for  becoming  men- 
tion— as  is  exemplified  by  the  article  which,  written  by  Edwin 


August,  1924  AMERICAN      CINEMATOGRAPHER 


Eleven 


Schallert  in  the  Los  Angeles  Times  of  which  he  is  drama  and 
music  editor,  is  re-printed  elsewhere  in  this  issue.  It  is  worthy 
of  note  that  A.  S.  C.  members  are  responsible  for  the  cinematog- 
raphy in  all  of  the  productions  cited  by  Mr.  Schallert. 


Ifl.A  welcome  sight  to  searching  eyes  is  the  prominent  credit  line, 
"Photographer,  John  F.  Seitz,"  which  is  appearing  in  a  four-page 
"The  Arab"  advertisement  of  the  Metro-Goldwyn  organization 
in  the  trade  journals.  The  combination  of  Rex  Ingram,  director, 
and  John  F.  Seitz,  cinematographer,  has  turned  out  numerous 
directorial  and  pictorial  classics,  and  it  is  a  matter  of  gratification 
to  see  that  Metro-Goldwyn  does  not  hesitate  to  herald  the  genius 
that  is  certainly  Mr.   Seitz's. 

(J  First  National  is  to  be  commended  for  its  practice  of  including 
the  name  of  the  cinematographer  in  numerous  of  its  advertise- 
ments. It  is  to  be  hoped  that  the  exhibitors  who  show  Metro- 
Goldwyn  and  First  National  productions  will  follow  the  lead 
of  the  producers  and  include  similar  credit  lines  in  their  local 
advertisements — and,  also,  not  cut  the  credit  titles  out  of  the 
films. 


CjJThe  motion  picture  business  can  be  no  more  prosperous  than  the 
exhibitor  is  prosperous.  The  attendance  at  his  houses  reaches 
back  along  the  line  of  production  and  affects  every  one  involved 
in  picture  making. 

C|  Therefore,  it  is  to  the  interest  of  all  those  in  pictures  that  the  ex- 
hibitors' theatres  are  well  attended.  Things  which  go  to  hamper 
attendance  hamper  production.  It  is  to  the  interest  of  all  that 
the  film  industry's  relations  with  the  public,  as  represented  through 
the  exhibitor,  be  such  as  to  be  conducive  of  confidence — which 
means  good  attendance. 

CJIs  confidence  with  the  public  kept,  then,  if  the  exhibitor  refuses 
to  remove  from  his  admission  price  the  amount  of  the  repealed 
government  tax?  Of  course,  it  is  but  a  small  amount  and  the  in- 
dividual paying  for  the  tickets  will  scarcely  miss  it.  But  miss 
it  or  not  it  is  not  too  trivial  for  him  to  talk  about — and  help  form 
opinion;  and,  it  must  be  remembered  much  opinion  is  shaped  by 
trivial  things. 


Twelve 


AMERICAN      CINEMATOGRAPHER 


August,  1924 


"The  Sea  Hawk's" 
Cinematography 

With  Frank  Lloyd's  "The  Sea 
Hawk"  enjoying  unprecedented  suc- 
cess in  New  York,  Chicago,  and  Los 
Angeles,  it  is  only  fitting  to  pay 
tribute  to  the  splendid  photography  of 
Norbert  F.  Brodin,  A.  S.  C. 

Mr.  Brodin,  cinematically  speak- 
ing, has  made  rapid  strides  in  photo- 
graphic achievement  during  the  past 
two  years — his  interior  scenes  of 
"Black  Oxen"  his  exteriors  of  "Brass" 
"Pleasure  Mad,"  and  his  work  on 
"Dulcy"  being  of  unusual  artistry, 
but  in  filming  "The  Sea  Hawk," 
Mr.  Lloyd's  camera  chief  has  given 
the  screen  one  of  the  finest  negatives 
it  has  known.  The  most  severe  crit- 
ics of  New  York  and  Los  Angeles  in 
reviewing  "The  Sea  Hawk,"  have 
given  credence  to  the  statement  and 
Mr.  Brodin  has  received  nearly  as 
much  praise  for  his  work  on  "The 
Sea  Hawk"  as  any  of  the  featured 
players  and  several  noted  writers  have 
said  that  Mr.  Brodin  shares  honors 
with  Mr.  Lloyd,  an  unusual  tribute 
to  a  cinematographer. 

Never  Failed 

Making  the  photography  of  "The 
Sea  Hawk"  the  great  achievement 
it  unquestionably  is,  was  quite  a  man 
sized  job  but,  according  to  Mr. 
Lloyd,  despite  his  many  unusual  de- 
mands upon  the  cinematographer, 
never  once  did  Mr.  Brodin  and  his 
assistants,  Dewey  Wrigley  and  Ed- 
ward Henderson,  fail  to  give  even 
more  than  was  expected,  and  numer- 
ous of  the  effects  which  go  to  make 
"The  Sea  Hawk"  as  pictorially  bril- 
liant, as  it  was  literally  colorful,  are 
the  outcome  of  Mr.  Brodin's  photo- 
graphic expertness. 

Unique  Effects 

One  of  the  oustanding  photograph- 
ic bits  of  the  "Sea  Hawk"  is  the  run- 
ning night  sea  battle  between  a  large 
Moorish  gallease,  manned  by  350  gal- 
ley slaves  and  fighting  men,  and  a  gi- 
gantic 235  foot  English  frigate  with 
a  crew  of  nearly  400  men.  This 
scene  was  photographed  on  the  North- 
ern Coast  of  Santa  Catalina  at  ten 
in  the  morning  with  climatic  condi- 
tions anything  but  favorable,  with 
a  special  filter,  and  on  the  screen  the 
accuracy  of  the  lighting  is  truly  un- 
canny. 

35  Feet  in  the  Air 

Several  unusually  active  fighting 
scenes  were  photographed  from  a  mast 
about  35   feet  above  the  combatants. 


By  J.  L.  Johnston 


Norbert  F.  Brodin,  A.  S.  C. 

The  scenes  of  the  duelling  maintained 
the  minutest  detail  of  every  movement 
plus  delicately  lighted  background 
that  provides  excellent  contrast. 

Shooting    on    Ledge 

More  than  a  score  of  scenes  made 

at  Catalina  had  to  be  made  from  the 

side  of  a  high  cliff  where  it  was  very 

difficult  for  the  camerman  to  stand, 


Following  are  a  few  news- 
paper review  excerpts  which  are 
indicative  of  how  the  most 
famous  critics  received  the 
cinematography  of  Norbert 
Brodin,  A.  S.  C.  in  "The  Sea 
Hawk '" 

GUY  PRICE,  Los  Angeles 
Herald :  "I  could  sit  and  look 
at  the  sea  scenes  by  Norbert 
F.  Brodin  until  the  Demo- 
crats get  together  on  their 
candidate." 

FLORENCE  LAWRENCE 
Los  Angeles  Examiner :  "The 
photography  is  a  great  credit 
to  Mr.  Brodin." 

PEARL  RALL,  Los  An- 
geles Evening  Express:  "Too 
much  credit  cannot  be  given 
the  photographer  of  'The 
Sea  Hawk.'  " 

EDWIN  SCHALLERT, 
Los  Angeles  Time*:  "Frank 
Lloyd  must  share  honors  with 
his  cameraman,  Norbert  F. 
Brodin,  in  the  achievement 
of  'The  Sea  Hawk.  " 


Norbert  Brodin's  Accomplish- 
ment Is  Lauded  By  Press 

and  Profession  Alike 

let  alone  set  his  camera  and  keep  it 
balanced  while  shooting. 

Night  Scenes  Impressive 

The  night  scenes  which  arrive  on 
the  screen  near  the  conclusion  of  the 
picture  when  the  English  frigate  is 
lashed  to  the  Moorish  gallease  and 
The  Sea  Hawk  and  Lady  Rosamund 
taken  from  the  latter  ship,  provided 
innumerable  problems  to  the  camera- 
man, but  in  spite  of  the  large  spaces 
to  be  lighted  and  the  many  conflicting 
shadows  to  be  overcome  that  the  light- 
ing of  natural  moonlight  and  ship's 
lanterns  might  be  made  accurate,  Mr. 
Brodin  worked  out  his  effects  with 
exceptional  speed  and  correctness.  The 
night  scene  which  shows  in  close-up 
the  prow  of  the  massive  English  fri- 
gate coming  from  nothingness  toward 
the  camera,  won  a  round  of  applause 
on  the  opening  night  of  "The  Sea 
Hawk"  in  New  York  and  in  Los 
Angeles. 

Praised  by  Hays 

Mr.  Brodin  made  the  most  of  his 
possibilities  in  developing  his  composi- 
tion and  sea  scapes  in  long  shots  for 
"The  Sea  Hawk,"  the  scenes  showing 
the  Spanish  galleon  coming  into  view 
beyond  a  Minorcan  headland,  and  an- 
other of  the  English  tramp  ship  "The 
Swallow"  making  a  sharp  starboard 
turn  directly  toward  the  lens  having 
won  enthusiastic  commendation  from 
Will  H.  Hays  and  many  magazine 
critics. 

"Third  Dimension" 

So  splendidly  did  Mr.  Brodin  di- 
aphram  a  number  of  exterior  scenes 
taken  on  the  wharf  of  the  Santa  Cata- 
lina location  that  the  jamissaries  and 
slaves  on  parade  prior  to  boarding  the 
Moorish  gallease  seem  to  have  a  third 
dimension.  So  noticeably  "rounded" 
were  these  scenes  that  on  the  occasion 
of  the  opening  at  the  Astor  theatre, 
New  York,  more  than  a  score  of  pa- 
trons wrote  notes  about  the  effect  to 
First  National  officials  and  newspaper 
editors. 

Photographic  Emphasis 

The  quality  of  Mr.  Brodin's  inter- 
ior scenes  in  the  English  and  Moorish 
sequence  is  deserving  of  special  men- 
tion, particularly  that  of  the  wedding 
of  Rosamund  and  Lionel,  so  abruptly 
interupted  by  the  arrival  of  The  Sea 
Hawk  and  corsairs. 

Throughout  the  entire  picture  Mr. 
(Continued  on  page  21) 


August,  1924 


AMERICAN      CINEMATOGRAPHER 


Thirteen 


Red  Goes 

to  Hell 


It  was  hotter'n  hell. 

In  fact,  I  was  in  hell. 

Don't  ask  me  how  I  got  there  because  I  don't  know. 
The  last  thing  that  I  remember  was  that  the  thermometer 
was  trying  to  break  through  the  bottom  of  the  mercury 
ball,  up  in  the  mountains  about  two  days  by  pack  from 
Truckee.  The  snow  was  deeper'n  one  of  them  Freud 
novels  and  the  weather  was  colder'n  a  newly-starred's  ritz. 

To  make  maters  worse,  Toughliver,  our  prize  German 
police  dog  star — pardon  me,  I  mean  shepherd  dog  star — 
had  run  off  in  the  woods  and  was  running  true  to  the 
form  of  all  the  animal  yarns  by  letting  himself  be  vamped 
by  one  of  them  she-wolves. 

Well,  one  night  when  I  got  burnt  out  over  geting  frozen 
up  all  day  long  looking  for  old  Liver  I  up  and  bought  one 
of  the  demijohns  of  firewater  that  one  of  the  redskins  who 
was  hanging  onto  the  company  was  peddling  around — I 
'  thought  that  it  would  be  great  stuff  to  keep  the  chills 
from  coming  through  the  chinks  in  the  logs  of  the  cabin 
and  hopping  on  my  back  and  playing  catchers  all  up  and 
down  it.  Anyway,  hard-guy  directors  always  made  me 
have  a  preference  for  hard  liquor — hard'  and  straight. 

All  of  a  sudden  I  kind  of  felt  myself  slipping  like — 
which  was  unusual  for  a  guy  like  me  who  always  could 
drink  the  thirstiest  right  under  the  table.  I  kept  on  drop- 
ping and  shooting  through  the  air — it  was  sure  some  un- 
comfortable feeling,  just  like  walking  down  Broadway 
and  slowly  realizing  that  your  suspender  had  snapped 
and  that  your  garter  was  slipping.  I  consoled  myself  by 
thinking  that  I  would  have  to  land  some  place  and  I  quick 
felt  around  me  to  make  sure  that  I  wasn't  locked  up  in 
any  torpedo  that  was  being  shot  to  Mars.  Nope,  here 
I  was,  all  intact,  with  nothing  cramping  my  style.  I 
wasn't  any  spirit  either  because  I  could  reach  down  and 
feel  the  bunion  on  my  left  little  toe,  and  my  cranking 
arm  was  OK  and  everything. 

Well,  I  thought,  maybe  I'm  on  my  way  to  heaven.  I 
reach  around  and  to  feel  if  any  wings  were  shoving  out 
but  I  couldn't  make  sure  because  my  shoulder  blades 
were  always  kind  of  sharp.  Just  about  the  time  I  was 
ready  to  give  St.  Peter  the  high  sign  and  check  in  on 
my  harp,  and  step  out  on  the  streets  of  pearl  curbed  in 
gold  and  strum  off  a  nice  little  ditty,  what  should  happen 
but  that  I  shoot  in  some  dark  place  that  seemed  mighty 
much  like  a  tunnel. 

Before  I  had  time  to  throw  up  my  hand  to  see  whether 
I  could  see  it  before  my  face  I  landed  right  smack  down 
into  a  long  hall  that  was  redder  than  an  aging  star's  second 
chin  on  a  close-up.  Hold  on,  what's  this,  I  thought,  this 
is  too  red  to  be  red  gold  even,  and  it  sure  is  a  darn  sight 
hotter'n  I  ever  expected  heaven  to  be.  I  guess  I'd  better 
open  my  collar  for  sure  as  I'm  born,  them  walls  is  burning 
asbestos.  When  I  reached  up  to  yank  off  my  collar,  lo 
and  behold  there  wasn't  no  collar  there,  and  right  there 
I  realized  that  maybe  I  was  right  about  feeling  my  sus- 
pender snapping  and  my  garter  slipping — because  I  didn't 
have  nothing  on  but  a  pair  of  trunks  that  looked  like  there 
were  woven  out  of  filament  of  electric  light  bulbs,  and 
that  was  just  what  the  material  was.  But  somehow  I 
didn't  feel  hot  in  spite  of  all  the  blazing  around  me. 

The  next  thing  I  got  to  thinkin'  of  was  how  to  get  out. 


In  Which  a  Troubled  Second 
Cameraman  Is  Whisked  into 
Control  of  the  Lower  Regions 

I  looked  in  the  back  of  me  and  she  was  blacker  than  the 
old  ace  of  spades.  I  then  sides  over  cautiuosly  like  and 
takes  a  punch  at  the  burning  asbestos  walls,  but  they 
wasn't  no  trick  drop  curtains — they  was  walls  and  harder 
than  a  production  manager's  head.  And  the  ceiling  was 
the  same  kind  of  stuff. 

Well,  thinking  I,  since  they's  no  way  to  retreat  there's 
nothing  to  do  but  to  go  ahead.  So  ahead  I  begins  to 
step.  As  I  went  on  the  floor  which  had  been  plain  stone 
and  not  bothersome  to  me  changed  to  red  hot  cinders. 
Strange  thing,  they  didn't  hurt  my  feet  a  bit.  All  at 
once,  when  I  got  over  speculating  was  to  if  the  cinders 
were  going  to  scorch  my  tootsies,  I  got  a  bright  idea ! 
It  wasn't  so  bright  either  because  it  made  my  mouth,  my 
heart  and  my  tummy  switch  places. 

I  wasn't  in  heaven  at  all !     I  was  in  hell ! 

You  could  have  blowed  me  over  with  a  megaphone. 
All  my  life  I  had  counted  so  strong  on  strolling  the  pearly 
streets  that  when  I  got  on  the  direct  road  to  hell  I  didn't 
realize  where  I  was.  Talk  about  mind  over  matter — 
how's  that! 

Well,  being  in  the  moving  picture  business  so  long 
had  made  me  an  optimist  so  I  quick  recalled  something 
that  I  had  always  said  in  fun — that  if  I  got  to  hell  I'd 
at  least  meet  my  friends  there.  I  figured  that  I  could 
run  into  some  of  them  there  anyway.  Maybe  some  of 
them  would  have  some  of  the  cold  checks,  some  how  or 
other,  that  I  had  got  and  been  holding  on  different  jobs — 
this  might  be  a  good  place  to  warm  them  up  and  get 
some  action  on  them. 

I  was  in  this  kind  of  pensive  mood,  sweating  plenty  but 
not  getting  burnt  any,  when  I  steps  on  a  cinder  that  was 
bigger  than  the  rest,  and  presto,  right  on  my  right  opens 
a  door.  Well,  I've  shot  enough  airplane  stuff  to  be 
adventuresome,  even  if  I  am  only  a  second  cameraman, 
so  I  pops  in  the  door,  and  for  the  life  of  me  if  I  didn't 
think  that  I  was  in  the  outer  office  of  some  Poverty  Row 
producing  company.  I  couldn't  help  but  feel  that  I  was 
waiting  for  a  job  or  was  trying  to  get  one,  and  I  expected 
the  old  dame  in  the  office  to  look  up  from  the  smoking  hot 
book  she  was  reading  (it  wasn't  any  of  Elinor's  either) 
and  tell  me,  No,  Mr.  Makemquick  can't  see  you  right 
now,  but  he  will  be  at  liberty  in  a  few  minutes — which 
might  mean  one  day  or  three  weeks  even. 

Instead,  when  she  looks  up  she  gives  me  a  double  O, 
instead  of  a  double  X,  and  gasps  like  if  I  was  a  young 
Valentino  Apollo  and  a  Don  Juan  all  rolled  into  one — 
a  guy  with  a  pan  like  I  got.  She  singed  out  of  the  back 
door  of  the  office  and  pretty  soon  she  was  back  with  three 
guys  that  were  dead  ringers  for  the  censorship  squad  in 
Podunk. 

Come  right  this  way,  O,  noble  sir,  they  said,  and  I 
begun  to  think  that  maybe  hell  had  an  Oriental  slant 
to  it.  They  steered  me  through  a  series  of  offices  and  I 
sure  did  think  that  I  was  going  to  apply  for  a  job,  only 
with  some  big  company  this  time.  Because  here  was 
all  the  secretaries  that  you  had  to  slip  through  to  get  to 
the  Big  Boys  only  none  of  the  sexy  sees  were  heading  me 
off  this  time. 

Pretty  soon  we  busted  right  into  a  big  room  that  for 
(Continued  on  page  15) 


Fourteen  AMERICAN      CINEMATOGRAPHER  August,  1924 


Unsurpassed  for  dependability 

EASTMAN 
NEGATIVE  FILM 


Uniformity,  latitude,  speed — all  are 
required  of  negative  film. 

But  essential  above  even  these  requi- 
sites, is  constant  dependability. 


And  for  that  quality — as  well  as  for 
uniformity,  latitude,  speed — Eastman 
Negative  Film  is  unsurpassed. 


A  good  negative  deserves  a  good  pos- 
itive— your  negatives  deserve  Eastman 
Positive  Film.  It  carries  quality  from 
studio  to  screen. 


EASTMAN    KODAK    COMPANY 

ROCHESTER,   N.   Y. 


August,  1924 


AMERICAN      CINEMATOGRAPHER 


Fifteen 


(Continued  from  page  13) 
size  would  make  all  the  big  stages  put  together  look  like 
one  of  George  Eastman's  Cine  Kodaks  beside  the  big 
camera  up  at  Mount  Wilson.  And  talk  about  a  Wampas 
frolic  or  an  A.  S.  C.  ball — this  was  the  devil's  ball.  And 
instead  of  confetti  and  all  that  stuff,  they  were  shooting 
Roman  Candles  and  tossing  around  red-hot  rivets,  play- 
ful like.  C.  B.  ought  to  been  there.  He'd  a-give  the  rest 
of  the  hair  on  his  head  to  shoot  the  scene,  I'd  been  willing 
to  bet. 

But  as  soon  as  they  lamped  me  they  laid  off  the  censor- 
able  stuff  and  made  a  path  as  wide  as  a  director  gets 
among  the  extra  girls  and  boys.  This  was  more  attention 
than  I  ever  did  get  in  my  life  outside  of  the  time  I  forgot 
to  load  the  magazines  and  was  grinding  an  empty  camera 
on  the  old  man's  twenty  thousand  dollar  set. 

Meanwhile  they  had  begun  shouting,  long  live  the 
king,  long  live  the  king,  and  I  begun  to  suspicion  that 
maybe  this  was  a  p.  a.  gag  on  that  picture  of  Jackie  Coog- 
an's  that  Frank  Good  shot  not  so  long  ago.  But  when 
all  of  these  here  dames  started  running  out  and  kissing 
me  on  the  shins,  I  begun  to  take  a  little  stock  in  myself  and 
think  maybe  I'd  be  a  big  director  some  day  after  all — 
these  people  here  sure  seemed  to  realize  my  importance. 
Then  they  bust  out  shooting  Roman  Candles  again  and 
hot  rivets  too,  but  strange  to  say,  they  were  just  like 
bawling  out  a  star — they  didn't  phase  me  a  bit. 

All  at  once  I  caught  sight  of  the  throne.  It  was  made 
out  of  running  pig  iron  illuminated  with  Sun  arcs.  Be- 
fore I  knew  what  was  happening,  my  reception  committee 
had  me  up  to  the  throne  and  was  saying,  Meet  the  Devil 
himself. 

What  a  devil !  They  wouldn't  even  let  him  in  a  Main 
street  burlesque  show.  He  didn't  have  no  form  at  all. 
He  didn't  even  come  near  to  lookin'  like  George  Arliss 
in  his  picture.  No  horns,  no  zits,  no  goatee,  no  climbing 
eyebrows,  no  forked  tail,  no  pitchfork,  no  villain  leer, 
no  red  skin,  no  nothing. 

But  here  was  the  big  wallop.  He  looked  like  the  walk- 
ing impersonation  of  what  the  comic  artists  picture  Old 
Man  Blue  Sunday.  He  looked  like  he  wouldn't  say  "hell" 
for  the  heat  of  it.  He  was  just  too  pious  looking  for 
words. 

But  he  found  words  all  right. 

Brother  and  stister  denizens  of  the  most  glorious  land 
of  hell,  he  said,  allow  me  to  introduce  to  you  this  evening 
our  King  for  the  Night.  As  you  know,  fond  "brethern 
and  sisters,  there  is  only  one  day  a  year  when  the  Devil 
himself  can  be  superseded  on  his  throne  and  that  is  on 
the  day  of  the  Devil's  ball.  And  there  is  only  one  kind  of 
person  who  can  supersede  him  on  that  day.  And  that 
person  must  be  a  fresh  arrival  in  hell  that  day. 

You  will  observe  that  he  is  here.  He  comes  on  the 
right  day.  You  will  also  observe  that  he  fulfills  the 
specifications  of  a  King  at  the  Devil's  ball.  He  is  freck- 
led  faced   and   red   haired. 

Ladies  and  gentlemen  of  hell,  I  take  great  honor  in 
presenting  to  you  our  king  for  the  day — Mr.  Mike  O'- 
Leary,  the  king  of  hell. 

Well,  sir,  I'll  tell  you  that  I  had  a  hunch  that  maybe 
this  guy  was  trying  to  kid  me,  especially  when  he  made 
those  cracks  about  my  complexion  and  my  coiffure.  I 
know  I  ain't  got  one  of  them  skins  you  love  to  touch, 
but  still  at  the  same  time  I  ain't  ashamed  of  being  Irish — 
even  in  hell. 

I  was  just  about  to  haul  off  and  knock  this  son  of  an 


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Sixteen 


AMERICAN      CINEMATOGRAPHER 


August,  1924 


"The  Sea  Hawk" 
"The  Fire  Patrol" 


The  screen's  most  discrimin- 
ating producers  have  entrusted 
the  millions  represented  in  thei*- 
negatives  to  the  Roy  Davidge 
Film  Laboratories. 

Superior  cinematography 
does  not  end  with  the  great  res- 
ponsibility of  the  cinematog- 
rapher.  Its  very  existence  de- 
pends on  intelligent  laboratory 
work.  And  that  sort  of  work, 
being  a  true  undertaking  of  art, 
cannot  be  turned  out  by  factory 
methods  but  demands  personai 


attention  —  such  as  the  Roy 
Davidge  organization,  backed 
by  years  of  experience,  is  pre- 
eminently  able   to   give. 

Cinematographers,  directors, 
producers,  turn  your  negative 
over  to  Davidge  —  as  Frank 
Lloyd,  Hunt  Stromberg,  Harold 
Lloyd  and  many  others  have 
done — and  you  will  save  your- 
selves hours  of  worry  and  at 
the  same  time  get  the  lab  work 
you've  been  wanting. 


ROY  DAVIDGE  FILM  LABORATORIES 

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assistant  back  into  the  middle  of  Bluemonia  where  he 
come  from  when  I  couldn't  help  but  notice  that  the  hand 
I  was  getting  all  over  the  house  was  the  real  McCoy. 
Lillian  Russell  at  a  gibson  girl  matinee  or  keep  Cool 
Cal  Coolidge  at  a  Republican  convention  couldn't  have 
got  a  better  one. 

So  in  the  back  of  my  head  I  begun  to  hope  that  Wesley 
Barry  or  Mickey  Daniels  wouldn't  show  up  and  queer 
my  act,  even  if  the  Devil  himself  knew  my  name.  Lord 
knows  where  he  got  it. 

So  I  cut  loose  with  my  speech  of  acceptance.  Cal  or 
Jack  Davis  could  do  no  better  in  the  hills  West  Virginia 
or  Vermont. 

Ladies  and  gentlemen,  says  I,  it  does  indeed  give  me 
great  pleasure  to  be  with  you  on  this  memorable  occasion. 
I  guess  you  are  all  familiar  with  the  platform  that  elevat- 
ed me  to  this  signal  honor.  Now  that  I  am  elected  I  am 
hell-bound  to  carry  out  that  platform  and  I  will  work 
to  do  it  until  the  fires  of  hell  freeze  over. 

My  new  department  of  refreshments,  which  I  will  call 
Andy  Budheuser  to  head,  will  see  to  it  that  there  is  never 
a  dry  mouth  in  hell.  There  will  be  crushed  ice  on  every 
corner  and  brass  rails  instead  of  curbs.  Every  corner 
will  receive  a  fresh  consignment  of  limes  each  day  and 
the  gin  will  be  the  best  that  the  London  ginneries  can 
turn   out — with  no  counterfeited   labels  on   them  either. 

I  will  nationalize  the  electric  fan  industry  and  pledge 
myself  to  see  that  everybody  keeps  cool  even  if  it  is  as 
hot  as  hell  which  it  is.  But  appreciative  of  the  substantial 
vote  that  my  lady  supporters  have  always  given  me  I 
want  to  reiterate  at  this  time  that  a  large  fox  and  ermine 


farm  is  to  be  established  on  the  Hothouse  grounds  for 
the  raising  of  furs  for  the  ladies  to  wear  on  summer  p.m.'s. 
Those  ladies  who  voted  against  me  will  not  be  forgotten, 
either,  for  they  will  be  given  neckpieces  made  out  of  the 
choicest  bat  hides. 

You  should  of  seen  that  gang  fall  for  my  line.  My 
audience  was  truly  electrified.  They  hung  on  my  words 
like  mother  does  onto  the  second  Mary  Pickford  when 
she  brings  her  into  the  casting  office  with  the  twenty-five 
year  old  curls  hanging  down  the  sweet  young  thing's 
back. 

I  wound  up  my  little  spiel  with  a  dodge  something  like 
this: 

I  know  that  we  are  going  to  be  friends,  so  on  with  the 
dance  and  don't  nobody  pay  for  any  drinks  tonight,  for  I 
proclaim  it  a  national  holiday  and  the  saloons  can  present 
their  bills  to  the  national  treasury  and  warrants  will  be 
issued   forthwith. 

You  should  a-heard  the  howl  go  up.  They  gave  me 
the  hip,  hip,  hooray  and  said  I  was  the  hottest  guy  in  hell. 

Well  I  busted  out  into  the  crowd  intending  to  look 
up  some  of  my  relatives  and  friends,  thinking  that  they 
would  be  the  first  ones  to  get  jobs  in  the  king's  privy 
cabinet,  because,  having  received  my  training  in  the  hard 
school  of  motion  pictures,  I  knew  that  it  was  most  highly 
ethical   to  see   that  all   of   your   relatives  had   jobs  first. 

But  I  got  the  surprise  of  my  life  when  I  focussed  on 
the  crowd.  I  couldn't  dig  up  a  single  crony  of  mine. 
I  began  to  regret  that  I  hadn't  rustled  up  a  job  on 
Fox's  Dante's  "Inferno"  as  an  assistant  to  the  assistant 
property  man  so  that  I  would  have  the  lowdown  on  how 


August,  1924 


AMERICAN      CINEMATOGRAPHER 


Seventeen 


to  get  away  with  a  kingship  in  hell.  There's  nothing  like 
a  moving  picture  education,  you  know.  If  I  hadn't  real- 
ized that  I  wouldn't  have  had  the  nerve  to  stall  through 
my  speech  the  way  I  did  without  even  a  megaphone,  be- 
cause I  didn't  know  what  I  was  talking  about.  But  I 
knew  those  kind  of  things  weren't  entirely  taboo  because 
they  slipped  some  kind  of  honor  like  that  to  Lon  Chaney 
in  Laemmle's  "Notre  Dame."  However,  I  did  wish  that 
I  had  the  first  information  on  hell  a  few  centuries  ahead  of 
time  like  the  Yank  did  in  Fox's  "A  Connecticut  Yankee 
in  King  Arthur's  Court." 

Anyway,  it  looked  more  like  heaven  than  hell  to  me, 
if  you  could  judge  by  the  inhabitants.  About  the  first 
thing  I  laid  my  eyes  on  was  a  crowd  of  ladies  that  came 
nosing  out  to  the  studio  one  day  to  check  up  on  the  bath- 
ing beauties'  bathing  suits — they  had  tape  measures  with 
them  to  make  sure  they  weren't  too  long.  That  day 
they  had  collars  on  that  tickled  their  ears.  But  you 
should  have  seen  them  in  hell — every  one  of  them.  Why 
the  top  of  their  dresses  was  all  neck  and  the  bottoms — 
why  they  were  all  imagination.  You  could  have  wrapped 
their  garments  in  a  postage  stamp  and  have  enough  left 
over   for  beauty  spots. 

And  how  they  objected  that  time  about  our  ingenue's 
bobbed  hair.  But  you  should  have  seen  them  that  day! 
They  had  every  kind  of  bob  in  captivity.  And  the  very 
one  that  almost  threw  a  fit  when  she  saw  us  smoking  on 
the  set  was  heaving  away  on  two  cigarettes  at  once.  Get 
that,   will  you  ? 

Well,  you  can  believe  me  or  not,  I  got  to  feeling  virtu- 
ous, even  if  I  was  a  former  second  cameraman  and  King 
of  Hell.  I  got  kind  of  bored  watching  these  used-to-be- 
nice  ladies  jazzing  around  so  I  busted  away  from  the  ones 
that  had  their  arms  around  me  and  dodged  into  a  side 
street  that  had  hot  carbon  for  pavement. 

I  hadn't  gone  far  when  I  came  to  a  theatre  with  signs 
all  made  out  of  Sun  Arcs,  Kleigs,  Winfields,  and  Crecos, 
which  were  telling  the  world  that  "Our  Own  Home 
Hula  Girls"  was  sizzling  on  the  stage  that  night. 

I  went  to  the  BO  and  was  going  to  decorate  the  marble 
when  all  of  a  sudden  I  discovered  that  I  didn't  have  any 
money,  nor  did  I  know  what  kind  they  used  there  if  any. 
But  somehow  or  other  the  theatre  management  got  the 
flash  that  I  was  the  King  so  they  ushered  me  to  the  royal 
box. 

Well  I  had  been  expecting  to  see  some  extra  hot  stuff, 
seeing  that  it  was  hell,  on  the  stage,  but  when  I  lamped 
bald-head  row  I  changed  my  mind.  I  concluded  that  the 
signs  were  merely  pressagenting  a  strawberry  festival. 
Those  guys  who  had  a  strangle  hold  on  the  best  seats  were 
the  exact  personnel  of  a  bunglesome  delegation  that  had 
crashed  the  gates  of  the  city  alderman's  chambers  with  a 
lengthy  petition  to  drive  all  moving  pictures  and  burles- 
que shows  out  of  Ooskamaloosa. 

But  when  the  curtain  went  up  I  changed  my  mind 
again  and  then  changed  it  back  again.  Those  grass  skirts 
that  those  hula  maidens  had  on  didn't  never  see  a  lawn 
mower — they  were  just  plain  close  shaved! 

Here  was  one  place  I  was  in  favor  of  censorship 
of  dress.  Those  delicate  things  on  the  stage  should  have 
been  swathed  in  yards  of  clothes  and  pads  from  their 
chins  to'  their  hoofs.  They  desecrated  all  ideas  of  the 
beautiful,  they  looked  like  sacks  full  of  door  knobs,  but 
maybe  that's  the  reason  that  they  constituted  the  other 
half  of  the  delegation  of  ladies  that  came  out  to  he 
studios  to  measure  the  bathing  suits  that  day. 


^O  please  the  movie-going  public 
night  after  night  is,  naturally, 
'  the  aim  of  every  exhibitor.   Because 
pleasing  the  public  is  both  pleasur- 
able and  profitable. 

One  sure  way  of  doing  it  is  by 
showing  your  pictures  with  a  bril- 
liancy and  contrast  above  and  be- 
yond the  ordinary.  This  can  be 
done  with  the 


BAUSCH  y  LOMB 

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635  St.  Paul  St.,  Rochester,  N.  Y. 

New  York     Boston     Washington     Chicago 
San  Francisco      London 


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Eighteen 


AMERICAN      CINEMATOGRAPHER 


August,  1924 


CJWhen  Customers  Stick 
There's  a  Reason — and 
When  the  Exhibitor  will 
Compliment  a  Print 
There  s  a  Reason 


Durability  -  Brilliance  -  Service 


The  Standard   Way 
in  Hollywood 


Sibmcfard 'Film  IraboFalcaigs 


Phone 

Hotly  wood 
V366. 


Seward 'and 'ftamaina Streets 
Hollywood  Call  forma 


But  you  should  of  seen  the  city  hall  delegation  down 
in  the  front  rows.  They  were  howling  with  joy.  They 
were  stamping  the  floor  so  hard  that  sparks  flew  in  all 
directions. 

A  couple  of  those  old  crowbaits  up  on  the  stage  went 
to  kick  and  do  the  fluffy-ruffle  turn  and  darn  if  they  didn't 
fall  on  top  of  each  other.  That  was  just  plain  punk.  If 
it  would  of  been  any  place  else  they'd  of  got  the  rasberry 
— and  the  cabbages  too,  but  they  just  got  applause  which 
didn't  make  me  think  so  much  of  the  hand  that  I  got 
when  I  Was  inaugurated  as  king. 

When  I  saw  the  sparks  flying  up  from  the  excessive 
stamping  of  the  floors  I  figured  that  this  would  be  a 
good  time  to  end  the  misery,  so  I  yelled,  fire.  But  I 
forgot  that  this  was  hell  and  I  saw  right  off  the  bat  that 
the  old  cue  for  a  panic  was  denatured  for  nobody  even 
so  much  as  made  a  move  that  they  heard  me. 

What's  the  use  of  being  king,  I  thought,  if  you  don't 
show  your  authority.  Show  it,  or  they'll  think  you're  a 
dud  anyway.  Just  like  the  director  who  don't  do  much 
bawling  out.  So  I  stands  up  in  my  box  and  says,  Hear 
ye,  Hear  ye.  And  you  should  have  seen  them  lay  off  their 
foolishness  then.  You  could  have  heard  a  pin  drop  if  it 
hadn't  melted  when  it  hit  the  floor. 

I  told  them  that  every  one  of  them  hussies  on  the  stage 
was  thereby  ordered  to  go  home  and  dress  in  a  com- 
bination of  hoop  skirts  and  bustles  and  if  ever  one  of 
them  showed  up  the  way  they  were  dressed  that  night 
I  would  make  them  let  their  hair  grow  long.     Then  I 


ordered  the  house  cleared,  and,  believe  me,  they  cleared. 
Before  I  got  downstairs  the  house  was  empty.  None  of 
them   dared   trifle   with   King   Mike   O'Leary. 

I  went  out  into  the  hot  night  air  feeling  like  a  vaca- 
tionist on  the  third  day  of  a  two  week's  stay  at  a  summer 
resort.  Being  king  was  all  right,  but  how  the  blank  did 
I  know  that  I  would  ever  get  out  of  hell  and  what  was 
going  to  happen  when  I  passed  by  the  board  as  all  kings 
must?  That  sure  set  me  to  thinking  when  who  should  I 
run  into  but  old  Causeandeffect  who  flunked  me  two 
terms  straight  before  they  agreed  with  me  that  I  hadn't 
better  go  to  high  school. 

He  didn't  seem  surprised  to  see  me  there  as  I  don't 
think  he  would  be  because  he  always  predicted  that  my 
reverse  complex  would  carry  me  to  the  dogs.  I  guess  I 
shouldn't  have  been  surprised  to  see  him  there  either  be- 
cause he  was  one  of  those  guys  who  knew  so  much  that 
you  spilled  your  ignorance  to  question  anvthing  he  might 
do. 

So  I  decided  not  to  be  ritzy  even  if  I  was  newly  kinged, 
so  I  says,  Hello  Causie,  what's  the  effect  of  my  mental 
thought  wave  tonight? 

He  had  the  snappy  comeback  ready  and  said,  Well 
what's  on  your  mind  is  that  you  desire  to  know  why  ultra- 
respectable  ladies  and  gentlemen  on  earth  do,  down  here 
in  hell,  the  very  things  that  they  crusaded  against  on  the 
earth  plane.  That's  simple  psychological  complex — namely, 
when  unnatural  restraint  is  thrown  off  the  imperious  per- 
son does,  in  an  imitative  but  imperfect  fashion,  that  which 
he  envies  in  folks  that  he  causes  himself  to  condemn. 


August,  1924 


AMERICAN      CINEMATOGRAPHER 


Nineteen 


To  cut  out  the  trimmings,  I  came  back,  you  mean  to  say 
that  these  hussies  down  here  are  trying  to  put  over  just 
what  they  were  jealous  of  in  the  poor,  pretty  little  extra 
girls?  Uh-huh,  well,  all  I  got  to  say  that  they're  just 
trying  to  put  on  the  dog  and  they  sure  are  flopping. 

Now  look  here,  Causie,  can  a  king  every  get  out  of  hell 
if  he  should  want  to  run  up  to  some  place — say,  like 
Catalina  for  the  week  end? 

Once  in  hell,  always  in  hell,  comes  back  old  Psycho, 
with  the  one  exception  that  once  a  king  carries  with  it 
the  privilege  of  leaving  this  kingdom  behind  provided  the 
king  can  convince  not  only  the  men  denizens  here  but  also 
the  women  denizens  that  there  may  have  existed  at  some 
time  or  other  ladies  more  beautiful  than  those  in  hell — 
who  seem  to  believe  that  hell  can  do  what  all  the  drug 
stores  and  diets  couldn't  do  before  they  took  up  reforminjj;. 

Just  as  simple  as  blowing  out  the  fires  of  hell  with  one 
breath,   I   observed. 

I  registered  deep  thought  by  writing  my  initials,  fol 
lowed  by  "rex,"  in  the  cinders  at  my  feet  with  my  big 
toe.     Finally  I  "had  it,"  as  the  writers  for  little  boys  and 
Englishmen  say. 

Siki,  I  mean  Cause,  I  said,  is  there  any  way  that  you 
can  get  to  the  bottom  of  the  Pacific? 

What're  you  holding?  he  wants  to  know,  not  at  all 
school-teacher-like. 

Sixty-forty  until  the  cost  of  the  negative  is  back  and 
then  fifty-fifty,   I   told   him. 

He  savvies  right  away  and  asks  me  what  I  want  him 
to  do  and  I  told  him. 

Well  before  the  denizens  of  hell  knew  what  had  happen- 
ed they  were  sitting  in  the  biggest  theatre  in  hell  waiting 
for  something  to  happen.  It  was  the  biggest  audience 
that  ever  assembled  in  hell — thanks  to  my  exploitation. 
All  that  I  did  was  puff  up  the  show  to  a  couple  of  the 
gabbiest  dames  in  the  joint,  and  before  I  knew  it  they 
were  storming  the  gates. 

They  were  paying  a  premium  to  get  in  too.  I  had 
enough  diamonds  to  build  a  house  out  of,  thanks  also  to 
my  motion  picture  education.  If  you  remember  serials 
of  the  early  days  like  I  do,  you'll  remember  one  in  which 
Irving  Cummings  was  the  hero  and  Lottie  Pickford  was 
the  heroine.  It  was  "The  Diamond  from  the  Sky,"  the 
diamond  falling  to  the  earth  in  a  meteor  and  the  serial 
hung  around  that  diamond.  And  our  admission  prices 
hung  around  the  same  kind  of  diamonds.  It  was  a  meteor 
diamond  for  admission  and  before  long  the  pits  and  brim- 
stones of  hell  were  being  combed  over  for  meteor  diamonds 
and  they  got  them  too. 

The  house  was  packed  to  the  gills  when  the  picture 
went  on.  Old  Causie  had  rustled  up  an  asbestos  screen, 
and  had  got  a  couple  of  chemist-engineers  who  were  his 
cronies  to  fix  up  a  projection  room  that  would  be  safe  for 
his  film. 

Little  did  I  think  the  time  that  I  tossed  that  negative 
overboard  on  my  way  to  Honolulu  that  it  would  come 
in  so  handy.  In  fact,  I  was  cussing  it  because  the  censors 
wouldn't  let  it  pass. 

And  when  I  showed  it  in  hell !  Why  it  set  the  place 
afire.  The  only  ones  that  didn't  fall  for  it  was  the  or- 
iginal censors  who  tried  to  keep  a  cold  shoulder  and  an 
icy  stare  on  it  but  it  wasn't  long  before  they  thawed  out. 
And  the  old  men — when  they  saw  those  perfect  36's  they 
said  I  was  the  best  showman  in  the  world.  It  was  a 
regular  landslide.  Even  the  stubbornest  women  hopped 
aboard  the  band  wagon.  Don't  ask  me  why  they  did  it, 
(Continued  on  page  21) 


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Twenty 


AMERICAN      CINEMATOGRAPHER 


August,  1924 


New  Headquarters 

Almost  Finished 

New  offices  of  the  American  Society  of  Cinematog- 
raphers  and  of  the  American  Cinematographer  will  be 
ready  for  occupancy  within  the  next  six  or  eight  weeks, 
it  is  announced.  The  new  Guaranty  Building,  at  Holly- 
wood Boulevard  and  Ivar  Avenue,  Hollywood,  in  which 
the  headquarters  are  located  on  the  top  floor,  is  practically 
completed. 

Finishing  Touches 

Only  the  final  finishing  touches  such  as  the  installation 
of  the  lighting  fixtures  and  the  radiators  remain  to  be 
put  on.  All  heavy  work  on  the  building  has  been  effected 
some  time  past.  A  young  army  of  workmen  are  busy  on 
the  building  to  have  it  ready  in  record  time. 
Furnishings 

A.  S.  C.  members  are  now  devoting  their  attention 
toward  providing  proper  furnishing  for  the  new  head- 
quarters and  from  plans  that  have  been  outlined  the 
offices  will  be  among  the  most  elaborate  in  the  entire 
building. 

Stragetic  Location 

It  is  said  by  those  who  have  inspected  the  building  that 
the  A.  S.  C.  offices  are  probably  the  most  stragetically 
located  in  the  entire  structure.  They  occupy  a  major 
unit  on  the  top  floor  with  an  unobstructed  view  for  miles 
over  the  Hollywood  hills,  Los  Angeles  proper  and  the 
sister  cities  stretching  beyond  from  the  mountains  to  the 
sea.  A.  S.  C.  members  who  have  inspected  the  suite 
recently  are  particularly  enthusiastic  over  the  view  that 
is  afforded  by  its  windows. 

Enhanced  Values 

It  is  declared  that  the  investment  presented  in  the  new 
building  has  already  enhanced  itself  magically  since  the 
plan  for  its  construction  on  one  of  Hollywood's  most 
valuable  corners  was  first  conceived.  The  lot  on  which 
the  edifice  stands  distinctly  is  one  of  the  most  valuable 
in  Southern  California.  What  its  value  will  represent 
a  decade  hence  is  a  matter  for  imagination  and  not  cal- 
culation, if  judged  from  the  phenomenal  rise  in  Holly- 
wood real  estate  values  within  the  past  ten  years. 
Rapid  Rise 

During  this  time   Hollywood  has  evolved   from  little 

Watterson  R.  Rothacker  sailed  on  the  Olympic  July 
5  on  his  annual  trip  to  Europe.  Prior  to  sailing  he  had 
made  a  hurried  trip  to  Hollywood  where  he  stayed  a 
week. 

During  this  summer  trip  he  will  visit  England,  France, 
Germany  and  possibly  Italy,  stopping  off  at  motion  picture 
centers  where  he  will  be  particularly  on  the  lookout  for 
advancements  in  laboratory  process. 

The  head  of  the  Rothacker  Enterprises  has  appoint- 
ments with  several  of  the  more  important  European  pro- 
ducers, with  whom  he  will  confer  on  the  proposition  of 
American-made  prints  for  the  American  market. 

In  England  he  will  be  present  at  the  first  National  con- 
vention and  while  in  that  country  expects  to  spend  consid- 
erable time  with  Sir  Arthur  Conan  Doyle,  from  whom 
some  years  ago  he  bought  the  motion  picture  rights  to  'The 
Lost  World." 

Mr.  Rothacker  plans  to  return  to  America  the  last 
week  in  August 


A.  S.  C.  Offices  to  Be  Ready 
for  Occupancy  before  Elapse 
of  Next  Two  Months 

more  than  a  sleepy  village  to  one  of  the  busiest  cities  in 
the  country,  notwithstanding  the  fact  that  it  is  nominally 
a  part  of  the  corporate  city  of  Los  Angeles. 
Metropolitan 

Spurred  on  by  the  operations  of  the  motion  picture  stu- 
dios, population  and  business  has  been  attracted  to  the 
community  until  it  is,  in  truth,  a  city  unto  itself.  Its 
population  is  conservatively  estimated  to  be  between  75,000 
and  100,000. 

For  these  reasons,  as  well  as  for  actual  motion  picture 
production  reasons,  the  American  Society  of  Cinematog- 
raphers  decided  to  intertwine  its  own  future  with  that  of 
Hollywood  by  establishing  its  home   there  permanently. 


Martin  Quigley  on  the  Sunday 

Closing  of  Theatres 

Writing  in  the  Exhibitors  Herald  of  which  he  is  pub- 
Usher  and  editor,  Martin  J .  Quigley  surveys  the  matter  of 
Sunday  closing  as  follows : 

The  one  big  thing  standing  in  the  way  of  seven  days  a 
week  of  motion  pictures  in  all  towns  and  cities  through- 
out the  country  is  the  tradionally  hostile  prejudice  against 
theatrical  exhibitions  on  Sunday.  The  sentiment  which 
has  kept  the  stage  theatres  dark  on  Sunday  was  largely 
generated  by  the  type  of  exhibition  commonly  encountered 
in  the  smaller  town  theatres. 

A  great  many  of  these  exhibitions  doubtlessly  were  not 
properly  suited  to  performance  on  week  days  as  well  as 
Sundays.  At  any  rate,  the  irresponsible  travelling  show 
is  the  thing  that  forms  the  actual  basis  of  the  great  part 
of  the  real  opposition  to  Sunday  motion  picture  shows. 

The  exhibitor  may  properly  contend  that  his  motion 
picture  show  is  suited  to  performance  on  Sunday  as  well 
as  on  any  other  day.  Technically,  he  has  a  perfect  case 
against  the  closing  of  his  theatre  on  Sunday.  But  under 
existing  conditions  abstract  arguments  are  not  likely  to 
lead  to  any  practical  relief. 

It  is  our  thought  that  in  towns  that  are  closed  on  Sun- 
days the  exhibitor,  with  an  eye  to  eventually  arriving  at 
the  desired  end  of  having  a  seven  day  town,  should  con- 
duct, even  at  some  expense  to  himself,  a  specialized  ex- 
hibition on  Sundays  which,  if  properly  directed,  would  un- 
questionably break  down  the  wall  of  prejudice  that  now 
stands  in  the  way  of  having  shows  on  Sunday. 

There  are  educational  and  inspirational  subjects  to  be 
obtained  that  could  be  built  into  a  Sunday  program  that 
would  not  only  escape  criticism  but  unquestionably  would 
receive  the  vigorous  support  of  just  those  people  who  are 
chronically  against  ordinary  theatrical  performance  on 
Sunday. 

The  exhibitor  who  is  closed  on  Sunday,  except  in  cases 
where  it  is  purely  a  political  matter,  may  bear  in  mind 
that  he  is  confronting  simply  a  prejudice.  His  case  has 
full  merit  but  he  cannot  win  by  theoretical  argument.  He 
can  however,  win  by  means  of  demonstrating  that  a 
certain  kind  of  Sunday  show  is  an  asset  to  any  com- 
munity. 

This  would  entail  a  certain  cost  but  with  the  eventual 
reward  of  another  day's  business  every  week,  the  time 
effort  and  expense  would  be  well  worth  while. 


August,  1924 


AMERICAN      CINEM  ATOGRAPHER 


Twenty-one 


FILM  PSYCHOLOGY  AND 
"THE  TEN  COMMAND- 
MENTS" 

(Continued  from  page  6) 
Separate  Entity 

Each  scene  is  an  entity  to  itself.  It 
cannot  be  mechanically  classified  or 
segregated,  and  illuminated  according- 
ly. It  should  exist  once  and  only  once 
for  all  time.  There  should  be  nothing 
like  it  in  the  world.  It  is  in  a  class 
by  itself.  It  must  be  so  treated.  It 
is  a  fully  created  child  of  the  writer's 
and  the  director's  brains  and  the  cine- 
matographer  must  do  everything  with- 
in his  power  to  make  the  child  appear 
natural. 

Style  and  the  Rut 

If  he  does  not  give  each  scene  the 
individual  treatment  that  it  requires, 
it  is  not  long  before  his  work  as  a 
cinematographer  settles  into  a  rut — 
and  that  means  that  he  ceases  to  prog- 
ress. I  do  not  say  that  the  cinematog- 
rapher should  deliberately  rob  him- 
self of  everything  that  may  be  con- 
strued as  his  own  style — but  there  is 
a  difference  between  style  and  labor- 
ing in  a  rut. 

And,  after  all,  in  speaking  of  style 
the  ideal  cinematographer  at  present 
is  the  one  who  can  "put  over"  his  dir- 
ector's or  star's  style  on  the  screen. 


NEW    YORK    STRONG    LURE 
TO  A.  S.  C.  MEMBERS 

(Continued  from  page  9) 
familiar  with.  Whitman  is  regarded 
as  especially  able  to  organize  such  a 
department  as  he  is  recognized  as  one 
of  the  masters  of  the  miniature,  trick 
and  "effect"  cinematography.  For 
many  years  he  was  identified  with  the 
Mack  Sennett  Studios  in  such  cap- 
acity and  later  was  the  guiding  gen- 
ius of  a  similar  department  at  Un- 
iversal City.  He  severed  his  Univers- 
al connections  to  join  Arthur  Edeson 
for   the    intricate   creations   on    Fair- 


banks' "The  Thief  of  Bagdad." 
Good  on  Coogan  Feature 

Frank  B.  Good,  A.  S.  C.  has  de- 
parted for  Gotham  where  he  will 
film  the  concluding  scenes  on  Jackie 
Coogan's  last  production  before  the 
Coogans  leave  for  Europe  on  the  milk 
relief  expedition.  According  to  pres- 
ent plans,  Frank  will  not  tarry  long 
in  the  metropolis  but  will  hasten  back 
to  Southern  California  where  he  has 
been  identified  with  things  cinema- 
tographic for  many  years  past.  He  has 
filmed  all  of  young  Coogan's  features 
of  the  past  two  years,  and  these  in- 
clude the  most  pretentious  that  the 
young  starlet  has  essayed  including 
"Long  Live  the  King,"  "Circus 
Days,"  and  "Little  Robinson  Cru- 
soe." Previous  to  his  affiliation  with 
the  Coogans,  Good  for  many  seasons 
was  the  chief  cinematographer  for 
Tom  Mix  at  Fox. 

Glennon   zuith   Bern 

Bert  Glennon,  A.  S.  C.  has  left 
for  the  Paramount  Long  Island  Stud- 
ios where  he  will  photograph  Paul 
Bern's  next  production  for  the  Fam- 
ous-Players-Lasky  banner.  Glennon 
has  just  finished  the  photography  of 
Bern's  first  directorial  effort  for  the 
Paramount  Hollywood  studios. 
Seitz  Still  in  Gotham 

John  F.  Seitz,  A.  S.  C.  has  been  in 
New  York  City  since  his  return  from 
Northern  Africa  where  he  filmed 
Rex  Ingram's  "The  Arab,"  which 
is  among  the  current  releases. 
Long  in  New  York 

E.  Burton  Steene,  Ned  Van  Buren, 
Roy  F.  Overbaugh,  and  Henry  Cron- 
jager,  all  A.  S.C.  members,  have  been 
in  New  York  City  for  such  a  period 
that  it  is  regarded  as  their  perman- 
ent headquarters.  They  have,  in  their 
respective  connections,  given  the 
screen  some  of  the  outstanding  cin- 
ematographic gems  of  the  past  sev- 
eral years. 


Ira  Morgan  and  George  Barnes, 
both  A.  S.  C.  members,  will  forsake 
the  metropolis  shortly  for  the  sun- 
ny skies  of  Southern  California  under 
which  the  next  Maron  Daves  feature 
will  be  photographed.  They  have 
worked  together  on  the  past  several 
Davies  vehicles  that  have  been  pro- 
duced in  New  York. 

L.  Guy  Wilky,  A.  S.  C,  sojourned 
to  Manhattan  several  months  ago  to 
film  a  William  de  Mille  production 
but  has  returned  to  Hollywood  some 
time  since. 


"THE  SEA  HAWK'S" 

CINEMATOGRAPHY 

(Continued  from  page  12) 

Brodin's  interior  scenes  have  a  con- 
sistent soft,  rich  photographic  quality 
that  makes  watching  the  stirring  ac- 
tion doubly  easy  and  enhances  the  ac- 
tion considerably  by  presenting  every 
detail  of  costume  or  facial  expression 
with  emphasis  not  obviously  "planted." 

In  filming  the  slave  market  scenes 
Mr.  Brodin  was  very  successful  in 
reversing  the  sunlight  to  suit  his  will 
obtaining  some  delicate  backgrounds 
for  his  principal  action  in  exactly  the 
same  natural  light  that  covered  his 
principals. 

Guy  Price,  in  the  Los  Angeles  Her- 
ald, said  of  Mr.  Brodin's  work:  "I 
could  sit  and  look  at  the  sea  scenes  by 
Norbert  F.  Brodin  until  the  Demo- 
crats get  together  on  their  candidate." 

Florence  Lawrence,  of  the  Los  An- 
geles Examiner,  said  :  "The  photog- 
raphy is  a  great  credit  to  Mr.  Brodin." 

Pearl  Rail,  of  the  Express  said : 
"Too  much  credit  cannot  be  given 
the  photographer  of  'The  Sea  Hawk.'  ' 

Edwin  Schallert  in  the  Times,  said  : 
"Frank  Lloyd  must  share  honors  with 
his  cameraman,  Norbert  F.  Brodin, 
in  the  achievement  of  'The  Sea 
Hawk.'  " 


A.S.C.  Member,  Experienced  Aviator, 
Become  Seasick  on  Motorcycle 

While  making  scenes  for  Paul  Bern's  picture,  "Open 
All  Night,"  now  in  production  at  Lasky  Studio  it  became 
necessary  for  Bert  Glennon,  A.  S.  C.  to  take  closeups  of 
the  bicycle  riders  as  they  rode  the  circular  track  built  on 
stage  number  1.  He  had  his  camera  mounted  upon  a 
side-car  of  a  company  motorcycle  in  such  a  way  that  he 
had  to  ride  backwards.  Glennon  has  had  1000  hours  fly- 
ing both  as  an  officer  in  the  U.  S.  A.  Air  Corps  and  as 
a  stunt  instructor,  but  he  never  once  became  sick.  After 
about  seven  laps  around  the  bicycle  track  he  pantomimed 
to  the  driver  to  stop.  As  the  result  of  his  motorcycle 
seasickness,  Glennon's  stomach  hasn't  been  right  yet. 


RED  GOES  TO  HELL 

(Continued  from  page  19) 
because  I  don't  know  any  more  about  women  that  you  do. 
They  wanted  to  elect  me  king  for  good  if  I  could  book  a 
year's  worth  of  pictures  like  that.    What  would  the  New 
York  ad  writers  have  done  to  have  testimonials  like  that! 

But  I  was  a  wise  guy.  I  had  all  the  diamonds  packed 
up  in  boxes.  Just  before  the  next  to  last  reel  went  on — 
Causie  was  projectionist — I  went  up  to  the  Devil  and  said 
that  I  thought  it  would  be  a  good  idea  for  me  to  go 
back  to  LA  to  produce  some  more  of  those  kind  of  pic- 
tures,  and  wanted   his  permission   to   do  so. 

He  said  that  wasn't  necessary  and  wrote  out  a  pass 
port  on  a  hot  hell  shovel,  only  I  didn't  get  a  chance  to  use 
it  because  just  about  that  time  I  woke  up  under  a  bucket 
of  water  heaved  on  me  by  the  boss  and  heard  him  say. 
to  get  ready  to  work  because  they  found  Toughliver. 


Tiventy-tiB* 


AMERICAN      CINEMATOGRAPHER 


August,  1924 


Film  Daily  Sees  Danger  in  Wrong 

Attitude  on  Theatre  Tax 

Appropos  of  the  exhibitors'  tax  situation,  Maurice  D. 
Kann  writes  as  follows  in   The  Film  Daily : 

A  serious  situation  will  again  face  the  industry  in  the 
form  of  a  new  twist  in  legislation.  Well-posted  figures 
in  the  business  who  know  a  lot  but  say  little  predict  that  in 
the  fall,  no  less  than  twenty  states  will  introduce  bills 
seeking  to  impose  a  ten  per  cent  tax  on  admissions. 

It  is  a  question  if  exhibitors  themselves  are  not  res- 
ponsible for  the  deluge  that  will  come.  Why  divulge 
the  entire  proceedings  of  exhibitor  meetings  and  allow 
local  newspapers  to  learn  that  even  only  a  minority  of 
exhibitors  are  keeping  the  tax? 

The  time  should  have  come  long  since  when  any  one 
exhibitor  leader  should  jeopardize  the  interests  of  his 
fellow  exhibitors  by  rushing  into  print  with  statements 
framed  without  proper  thought  or  treatment.  Many  well 
know  how  the  Hays  office  worked  and  worked  to  counter- 
act the  appearance  of  sporadic  statements  of  theatre  men 
here  and  there  on  the  admission  tax.  The  same  thing, 
identically  is  occurring  now  that  the  tax,  in  part,  has  been 
lifted. 

There  should  be  no  misunderstanding.  There  is  no 
lack  of  sympathy  for  the  exhibitor.  Examples  are  plentiful 
of  the  exhibitor  who  has  been  forced  to  pay  the  Govern- 
ment tax  out  of  his  own  pocket.  Whether  or  not,  as  a 
general  thing,  the  exhibitor  should  maintain  his  prices  at 
the  same  level  and  keep  the  difference  is  a  debatable 
question.  It  is  important  to  remember  that  the  public 
expects  to  receive  the  benefit.  However  that  may  be, 
one  thing  is  sure: 

There  are  mighty  few  State  Governments  in  this  broad 
land  that  are  not  seeking  new  means  of  raising  revenue. 
Anything  in  print  that  can  be  seized  upon  as  an  excuse 
is  not  being  lost  sight  of.  Yes,  this  is  a  warning.  And 
the  actual  development  of  that  warning  will  be  seen  in 
the  fall  and  winter. 

Exhibitors  are  stirring  up  for  themselves  a  new  hornet's 
nest.  They  might  here  find  a  few  words  worthy  of  re- 
flection and  then  frame  their  actions  accordingly. 


Pacific  Coast  Section  of 

S.  M.  P.  E.  Is  Formed  in  Hollywood 

The  Pacific  Coast  Section  of  the  Society  of  Motion 
Picture  Engineers  has  been  organized  with  headquarters 
in  Los  Angeles.  J.  A.  Ball,  of  the  Technicolor  organiza- 
tion, has  been  made  chairman  of  the  section  and  is  ex- 
ofHcio  a  member  of  the  Board  of  Managers  which  in 
addition  will  include  the  Past  Chairman  after  Ball  re- 
tires from  office.  Other  members  of  the  board  are  George 
Mitchell,  of  the  Mitchell  Camera  Corporation,  for  a 
term  of  two  years  and  R.  J.  Pomeroy  for  a  term  of  one 
year. 

Meetings  of  the  new  section  of  the  S.  M.  P.  E.,  which 
numbers  about  a  dozen  active  members  in  and  about 
Hollywood,  will  not  be  held  at  regular  intervals  but  will 
follow  the  precedent  of  the  main  division  of  the  Society 
which  holds  semi-annual  meetings  in  the  Spring  and  the 
Fall. 


—from  India 


From 

D.  L.   MlSTRY, 

No.  4,  Nepean  Road,  Malabar 

Hill, 
Post  No.  6,  Bombay,  India. 

To 

American  Society  of  Cinema- 
tograph ers.  Inc. 
Los  Angeles,  Calif.,  U.  S.  A... 
Dear  Sir: 

I  am  in  receipt  of  your  letter  of 
22nd  January,  1924,  and  accord- 
ingly I  received  11  copies  of  the 
1923  American  Cinematographer. 
I  noted  about  the  missing  copy  of 
February,  1923.  I  have  not  re- 
ceived all  the  back  numbers  of  the 
American  Cinematographer. 

I  want  back  numbers  from  Oc- 
tober, 1921  to  December,  1922, 
also,  for  which  I  am  sending  $3.00 
by  postal  money  order,  and  kindly 
send  the  back  numbers  above  men- 
tioned, at  your  earliest  convenience 
and  oblige. 

My  brother  and  I  are  receiving 
American  Cinematographers  regu- 
larly at  present  and  kindly  let  me 
know  before  our  subscriptions  ex- 
pire, so  that  we  may  be  able  to  re- 
new the  same  in  time.  We  find 
your  journal  excellent  on  the  sub- 
ject. 

Apologising    for    troubling    you 
and  thanking  you  in  anticipation, 
Yours  most  sincerely, 

D.  L.  Mistry. 
From  India 

Bombay,  1st  April,  1924.. 


To   THE   AMERICAN   CINEMATOGRAPHER: 

Herewith  find  $3.00  to  pay  for  one  year's  subscrip- 
tion to  The  American  Cinematographer,  subscription 

to  begin  <with  the  issue  of 192.... 


August,  1924 


AMERICAN      CINEMATOGRAPHER 


Twenty-three 


MANHATTAN   MUTTERINGS 

(Continued  from  page  8) 

On  Location 

IJRoy  Overbaugh,  A.  S.  C,  is  on  the 
Florida  coast  with  director  John  Robert- 
son who  is  handling  the  megaphone  for 
Richard  Barthelmess  in  "Classmates." 
The  company  expects  to  be  gone  about 
three  weeks  when  they  will  return  to  New 
York  for  the  interiors. 


Laugh    This   One   Off 

(J The  following  story  is  credited  to  one 
Matty  Cohen,  a  well  known  assistant 
cameraman  about  town. 

Matty  was  assisting  a  certain  cine- 
matographer  who  was  very  particular 
about  having  the  right  camera  takes 
printed  up.  They  were  working  a  loca- 
tion on  top  of  the  Woolworth  building 
when  suddenly  the  cinematographer's 
foot  slipped  and  he  plunged  into  space. 

Matty,  quick  of  mind,  dashed  into  a 
downward-bound  express  elevator  and 
succeeded  in  catching  up  with  his  boss 
at  about  the  thirty-fifth  floor. 

Matty  yelled  at  him: 

''Have  you  any  last  message  to  leave?'1 
"Yes,"  replied  the  unfortunate  cinematog, 
"Tell  them  to  print  up  takes  'one'  and 
'three.'  " 


Charles  Stumar,  A.  S.  C,  has  begun  the  filming;  of 
"The  Best  In  Life,"  a  Universal  Jewel  Production,  which 
will  run  eight  reels  in  length.  This  drama  will  be  dir- 
ected by  Svend  Gade,  a  noted  European  director.  Mary 
Philbin  and  Norman  Kerry  will  head  the  cast. 


^h^r^r^i 


Seldom  available,  A.  S.  C. 
members  are  always  in  de- 
mand for  every  phase  of  cin- 
ematographic work. 

A.  S.  C.  members  can  al- 
ways be  reached  by  telephon- 
ing HOllywood  4404  at  the 
headquarters  of  AMERICAN 
Society  of  Cinematograph- 
ERS  at  1103  No.  El  Centro 
Avenue,  temporary  address 
until  completion  of  new  A.  S. 
C.  office  in  Guaranty  Build- 
ing, Hollywood. 


SE33 


TELEPHONE 
HE  MPSTD  8761 


INTERNATIONAL   KINEMA    RESEARCH 


Lou  Howland  Hollywood    Security  Bldg. 


Twenty-four 


AMERICAN      CINEM  ATO.GRAPHER 


August,  1924 


''Manhattan  Mutterings"  Comes 

to  Hollywood  via  Air  Mail 

The  American  Cinernatographer's  first  manuscript 
sent  via  air  mail  was  received  during  the  past  month. 
It  was  on  the  editor's  desk  in  Hollywood  a  trifle 
more  than  three  days  and  a  half  after  the  envelope 
in  which  it  was  contained  was  cancelled  in  New 
York  City. 

The  manuscript  comprised  "Manhattan  Mutter- 
ings," the  American  Cinernatographer's  new  depart- 
ment on  New  York  happenings  written  by  Philip 
H.  Whitman,  A.  S.  C,  who,  showing  the  character- 
istic A.  S.  C.  progressiveness,  was  prompt  to  take 
advantage  of  the  air  mail  service  to  rush  his  copy  to 
this  publication. 

Incidentally,  the  second  piece  of  air  mail  received 
at  the  offices  of  the  American  Cinematographer  was 
for  a  year's  subscription  to  this  publication.  It  came 
from  Walter  D.  Kerst,  130  Wegman  Parkway, 
Jersey  City,  N.  Y. 


"Trick  Jack,''  meaning  none  other  than  Fred 
W.  Jackman,  A.  S.  C.  (with  the  horn  rimmed 
spectacles).  Despite  the  similarity  in  names,  Mr. 
Jackman  is  by  no  means  partial  to  this  kind  of 
animal  nor  to  its  cousin,  better  knkown  as  ''white 
mule."  This  fact  is  indicated  by  the  circumstance 
that  in  the  last  two  productions  directed  by  Mr. 
Jackman  one  was  Buck,  a  dog,  in  "The  Call  of  the 
Wild,"  and  the  other  Rex,  a  horse,  in  "The  King 
of  Wild  Horses." 

Fred  may  well  be  called  "Trick  Jack,"  how- 
ever, if  his  career  is  viewed  from  the  perspective  of 
his  accomplishments  as  a  "trick"  cinematographer. 
So  valuable  is  he  that  even  now  he  is  called  from 
his  directorial  course  from  itme  to  time  to  lend  his 
genius  to  productions  which  embrace  baffling  photo- 
graphic sequences. 


Ballin  Films  Picture 

With  Natural  Lighting 

Hugo  Ballin  turned  back  the  clock  seven  years  in 
motion  picture  technique  when  he  filmed  "The  Prairie 
Wife,"  his  current  production  for  Metro-Goldwyn-Mayer 
almost  entirely  by  natural  lighting. 

A  great  many  of  the  interior  scenes  for  the  picture, 
were  filmed  on  open  air  stages  entirely  by  natural  light, 
and  a  great  many  of  the  others  were  photographed  with  a 
blending  of  sunlight  and  artificial  light. 

r 

Ballin  delcares  he  will  use  this  system  of  lighting  in 

making  all  his  pictures  from  now  on.  The  director, 
who  was  one  of  America's  best  known  artists  before  tak- 
ing up  picture  work,  maintains  he  can  obtain  more  beauti- 
ful photographic  effects  with   natural   lighting. 

In  the  combination  of  natural  and  artificial  light,  the 
sunlight  entered  the  set  through  a  canvas  filter.  Ballin 
made  extensive  film  tests  before  beginning  actual  photo- 
graphic work  on  the  picture  and  declares  he  has  achieved 
more  effective  photography  than  would  have  been  possible 
if  sunlight  had  not  been  used. 

It  has  been  five  years  or  more  since  interior  scenes  were 
filmed  by  natural  light.  Two  of  the  oldest  stages  at  the 
Metro-Goldwyn-Mayer  studios  are  walled  in  by  glass, 
but  they  have  been  painted  over  for  years  to  keep  out  the 
rays  of  the  sun. 

The  director  believes  pictures  eventually  will  go  back 
to  natural  lighting  more  or  less,  in  an  effort  to  get  better 
photographic  results. 


Thermal  insulators  for  film  magazines  and  magazine 
cases  will  be  included  in  the  photographic  equipment  which 
will  be  taken  to  Arizona  When  Reginald  Barker  goes  to 
the  desert  region  of  that  state  to  film  scenes  for  "The 
Great  Divide,"  the  Metro-Goldwyn-Mayer  screen  ver- 
sion of  William  Vaughn  Moody's  stage  classic. 

Excessive  heat  dries  and  makes  film  so  brittle  that  it  will 
break  easily,  sometimes  in  the  middle  of  an  important 
scene  that  cannot  be  retaken.  There  is  also  danger  of 
static,  "sparks"  or  "ghosts,"  making  its  appearance  when 
the  film  becomes  heated.  Again,  the  static  proof  coating 
sometimes  causes  the  film  to  stick  to  the  "gates"  of  the 
camera,   making  the  action  uneven. 

By  using  thermal  insulators  these  difficulties  are  taken 
at  one  clean  hurdle  and  the  cameraman — in  the  case  of 
"The  Great  Divide,"  Percy  Hilburn — is  saved  several 
hundred  hours  of  worry.  Their  use  makes  it  possible  to 
work  through  the  hottest  part  of  the  day  where  others  are 
able  to  film  scenes  only  during  the  early  morning  and 
late  afternoon. 

Irving  G.  Thalberg  and  Reginald  Barker  are  now  busy 
on  the  selection  of  the  cast  for  "The  Great  Divide."  The 
director  will  leave  shortly  for  Arizona  to  inspect  the  loca- 
tions where  a  few  weeks  later  they  will  be  hard  at  work. 


August,  1924 


AMERICAN      CINEMATOGRrAPHER 


T<wenty-five 


Famous  Cinematographic  Sextet  in  New  Laurels 


Sol  Polito,  A.  S.  C,  who  has 
many  productions  such  as  "Mighty 
Lak  a  Rose,"  "The  Good  Bad 
Man,"  "The  Girl  of  the  Golden 
West"  to  his  credit.  Sol  is  busier 
than  ever  these  days  being  chief 
cinematographer  of  Hunt  Strom- 
berg  productions  at  the  Thomas 
H.  Ince  Studios,  Culver  City, 
Calif.  He  has  just  finished  film- 
ing Priscilla  Dean  in  "The  Siren 
of  Seville"  and  will  begin  shooting 
"A  Cafe  in  Cairo,"  with  the  same 
star,  shortly. 


Robert  V.  Doran,  A.  S.  C, 
who  is  a  veteran  among  the  oldest 
veterans,  his  wide-spread  ex- 
perience dating  back  to  the  days 
when  the  motion  picture  industry 
was  really  "in  its  infancy"  in  New 
York  City.  For  some  time  past  his 
abilities  have  been  represented  in 
the  Hal  Roach  comedies  which  he 
has  been  photographing.  Unseen 
though  he  is  on  the  screen,  Doran 
is  doing  his  share  to  make  the 
world  laugh. 


John  Stumar,  A.  S.  C,  who 
proves  that  one  family  can  produce 
more  than  one  genius  as  a  cinema- 
tographer. Both  John  and  his 
brother,  Charles  Stumar,  A.  S.  C, 
have  long  been  regarded  as  aces  in 
the  calling.  John  recently  com- 
pleted "Wine"  for  Universal. 
Other  famous  cinematographer 
brothers  are  Paul  P.  Perry  and  • 
Harry  Perry,  Fred  W.  Jackman 
and  Floyd  Jackman,  all  members  of 
the  American  Society  of  Cinema- 
tographers. 


James  C.  Van  Trees,  A.  S.  C, 
whose  work  has  become  more  bril- 
liant than  ever  since  his  connection 
with  First  National  productions. 
"Flaming  Youth"  and  "Lilies  of 
the  Field,"  and  other  productions 
starring  Colleen  Moore  and  Corin- 
ne  Griffith  attest  to  his  mastery  of 
his  art.  Before  joining  First  Na- 
tional Van  Trees  was  on  the  cine- 
matographic staff  of  the  Famous 
Players-Lasky  West  Coast  studios 
for  many  years. 


Gilbert  Warrenton,  A.  S. 
C,  whose  consistency  as  a  cinema- 
tographer was  established  even  be- 
fore he  filmed  the  masterpiece, 
"Humoresque."  While  with  Cos- 
mopolitan in  New  York,  Warren- 
ton was  identified  with  the  photo- 
graping  of  such  productions  as 
"Under  the  Red  Robe,"  "Little 
Old  New  York"  and  similar  suc- 
cesses. He  filmed  "Flowing 
Gold"  for  First  National  on  re- 
turning to  Hollywood  last  year 
and  at  present  is  connected  with 
Universal. 


Al  Gilks,  A.  S.  C,  who  for  the 
first  time  in  many  moons  will  be 
separated  from  Sam  Wood,  the  di- 
rector whose  productions  he  has 
photograped  for  some  seasons  past. 
Gilks  held  up  the  cinematographic 
end  of  the  combination  which  turn- 
ed out  the  famous  Sam  Wood- 
Gloria  Swanson  vehicles.  He  is  to 
film  Paramount's  production  of 
"North  of  36,"  which  will  be  di- 
rected by  Irvin  Willat  and  is  based 
on  the  novel  by  Emerson  Hough. 


T<wenty-six 


AMERICAN      CINEMATOGRAPHER 


August,  1924 


//V„ 


Reginald  Lyons,  A.  S.  C,  is  photographing  "De- 
tained," a  Joe  Rock  comedy,  starring  Stan  Laurel  and 
Jimmy   Aubrey.      Ward    Hayes   and    Marcel    Perez    are 

directing. 

*  *     * 

E.  B.  Du  Par,  A.  S.  C,  has  signed  as  chief  cinemato- 
graphef  with  Stereoscopic  Productions  of  Sacramento, 
Calif.  Du  Par's  new  organization  controls  patents  for 
attachments  to  the  camera  that  are  said  to  make  every- 
thing stereoscopic,  and  the  results  are  said  to  be  very 
satisfactory.  Plans  are  already  laid  for  a  series  of  feature 
productions,  on  the  first  of  which,  "Head  Over  Heels," 
a  western,  Du  Par  is  already  at  work.  Direction  is  in 
the  hands  of  G.  A.  Lambert  and  the  cast  includes  "Ranger 
Bill  Miller,"  Jack  Cooper  and  Bess  True. 

*  *     * 

Steve  Smith,  Jr.,  A.  S.  C,  is  still  engrossed  in  the 
photographing  of  Vitagraph's  "Captain  Blood,"  a  drama 
of  buccaneer  days  starring  J.  Warren  Kerrigan  and  Jean 
Pa?ge.  Steve  has  been  filming  some  sea  battles  between 
Spanish  and  pirate  ships  which  are  pounded  to  pieces  and 
sunk  before  the  camera.  A  couple  hundred  old  muzzle- 
loading  cameras  were  used. 

*  *     * 

Joseph  Brotherton,  A.  S.  C,  has  finished  the  filming  of 
the  latest  Fox  production  starring  Buck  Jones. 

*  *     * 

The  name  of  the  Regal  production,  "Painted  Women," 
photographed  by  Stephen  S.  Norton,  A.  S.  C,  has  been 
changed  to  "Another  Man's  Wife." 

Fred  Le  Rov  Granville,  A.  S.  C,  has  begun  work  in 
London  on  a  Granville  production,  "Contraband,"  a 
smuggling  story  containing  many  stunts,  dangerous  cliff 
work  and  drowning  scenes.     Peggy  Hyland  is  starred. 

Ira  Morgan  and  Georges  Barnes,  both  A.  S.  C.  mem- 
bers, are  slated  to  leave  New  York  City  shortly  for  Los 
Angeles  where  the  next  Marion  Davies  feature  is  to  be 
filmed. 

H.  Lyman  Broening,  A.  S.  C,  has  finished  filming 
the  Warner  Brothers  production,   "Lover's  Lane." 

*  *     * 

Ross  Fisher,  A.  S.  C,  is  filming  the  Fred  Thompson 
vehicles  at  the  F.  B.  O.  studios. 

Paul  P.  Perry,  A.  S.  C,  is  photographing  Emory 
Johnson's  latest  production,  "Play  Ball." 

*  *     * 

Harry  Perry,  A.  S.  C,  is  filming  "The  Breath  of 
Scandal,"  a  B.  P.  Schulberg  production.  Gasnier  is  di- 
recting. 


Kenneth  Mac  Lean,  A.  S.  C,  has  left  for  Rome  where 
it  is  understood  he  will  join  the  staff  of  "Ben  Hur"  for 
special  work  similar  to  that  done  by  him  and  Philip  H. 
Whitman,  A.  S.  C,  in  association  with  Arthur  Edeson, 
A.  S.  C,  on  Douglas  Fairbanks'  "The  Thief  of  Bagdad." 


Gilbert  Warrenton,  A.  S.  C,  has  completed  the  film- 
ing of  the  latest  Blache  vehicle  for  Universal,  and  has 
begun  work  on  Harry  Pollard's  latest  feature  for  the 
same  organization. 

Robert  Kurrle,  A.  S.  C,  is  still  busy  with  the  photo- 
graphy on  Edwin  Carewe's  production  of  "The 
Madonna  of  the  Streets,"  a  First  National  attraction. 


James  C.  Van  Trees,  A.   S.   C,   will  begin  work  on 
his  latest  First  National  production  shortly. 


Walter  Lundin,  A.  S.  C,  is  filming  "Hubby,"  Harold 
Lloyd's  latest  feature  comedy. 


Sol  Polito,  A.  S.  C,  enlisted  the  aid  of  King  Gray, 
A.  S.  C,  for  a  big  day's  shooting  on  Hunt  Stromberg's 
current  production,  directed  by  Tom  Forman  and 
starring  Harry  Carey. 


Hans  Koenekamp,  A.  S.  C,  is  again  in  charge  of 
cinematography  for  Larry  Semon  who  has  resumed  the 
production  of  comedies. 


Tony  Gaudio,  A.  S.  C,  is  in  the  final  stages  of  the 
cinematography  on  the  current  Joseph  M.  Schenck  pro- 
duction, starring  Norma  Talmadge  and  directed  by 
Sidney  Olcott.  Much  of  Tony's  shooting  has  been  at 
nights  on  this  production  so  that  he  has  been  unable  to 
preside  at  the  A.  S.  C.  meetings. 

Walter  Anthony  has  been  engaged  by  Hunt  Stromberg 
to  write  the  titles  for  "The  Siren  of  Seville,"  Priscilla 
Dean's  first  Stromberg  production. 

Mr.  Anthony,  a  well-known  journalist  and  music 
critic,  titled  "The  Secrets  of  Life,"  microscopic  pictures, 
made  by  Louis  Tolburst,  A.  S.  C.  Since  then  he  titled 
all  of  Jackie  Coogan's  recent  pictures,  as  well  as  "Oliver 
Twist,"  "The  Sea  Hawk,"  "The  Meanest  Man  in  the 
World,"  "Black  Oxen"  and  "The  Fire  Patrol,"  and 
proved  his  versatiliy  by  writing  the  continuity  for  Jackie 
Coogan's  "A  Boy  of  Flanders." 

Sol  Polito,  A.  S.  C,  shot  "The  Siren  of  Seville." 


HOW  TO  LOCATE  MEMBERS  OF  THE 

American 
Society  of  Cinematographers 

Phone  HOlly  44o4 


OFFICERS 


Gaetano  Gaudio 
gilbert  warrenton 
Karl  Brown 
Homer  A.  Scott 
Charles  J.  Van   Enger 
Victor   Milner 


President 
Vice-President 
Vice-President 
Vice-President 

Treasurer 
Secretary 


BOARD  OF  GOVERNORS 


Victor  Milner 


Philip  H.  Whitman 
James  C.  Van  Trees 
Frank  B.  Good 
H.  Lyman  Broening 


Homer  A.  Scott 
Fred  Jackman 

Charles  J.  Van  Enger 
Gaetano  Gaudio 
Gilbert  Warrenton 


King  D.  Gray 
Reginald  Lvons 
Paul  P.  Perry 
John  F.  Seitz 
Karl   Brown 


\bel,  Da\id — with  Warnei  Brothers. 

Arnold,  John — with  Metro  Goldwyu  Mayer  Picture  Corp. 

B.irnrs,  George  S. — with  Cosmopolitan. 

Beckway,    Wm. — ■ 

Benoit,    Georges — 

Broening,  II.  Lyman — with  Warner  Brothers. 

Boyle,    John    W. — Chief    cinemotogiapher,       "Ben       Ilur,"      Goldwyn; 

"Uines,"  Rome.  Italy. 
Brodin,  Norbert  F. — Frank  Lloyd  Productions,  First  National,  United 

Studios. 
Brotherton,    Joseph — with    Fox    Studio. 
Brown,  Karl — with  James  Cruze,  Famous  Players-Lasky. 
Clark,    Dan — with    Tom    Mix,    I  ox    Studio. 
Cowling,    llerford    T. — Travel    Picture'.    A-ia. 

C i  iter.  Henry — with  Famous  Players-Lasky,  New  York  City. 

Dean,    F;jxon    M. — 

Doran,    Robert    S. — with    Hal    Roach    Siiidn.. 

Dored,  John — Riga.  Latvia. 

Dubray,  loseph  A. — 

DuPar,  I*..  B. — Stere pii   Prod   *       S  cramento,  Calif, 

DuPont,   Max   B.— Tahiti. 

F.deson.    Arthur — with    Douglas    Fairbanks,    Fairbanks-Pickford    Studio. 

Evans,    Perry — 

Fildew,  Wm. — 

Ross   G. — with    A.    I.    Brown    Productions,    Russell   Studio. 
Gaudio,  Gaetano — with  Norma  Talmadge,  Joseph  Schenck  Produi  I  ii  in 

United    Studio. 
Gilks,  Alfred— 

Glennon,  Bert — with   Paul  Bern.  Famous  Players-Lasky. 
Good,  Frank  B. — with  Jackie  Coogan. 
Granville     Fred     L. — directing.       British       International       Corporation, 

London. 
Gray,  King  D. — 
Griffin.  Walter  L.— 

it.    Rene — 
Haller,  F'.rnesi —  Del  Andrews  Prod. 
Heimerl,  Alois  G. — with  Al  Davis  Prods. 
Jackman.  Floyd — with  Hal  Roai  h  Studio, 
lackman.    Fred    W. — directing,    Hal    Roach    Studio. 
Koenekamp.    Hans    F. — with    Larry   Semon. 
Kull,    Edward — with   Universal   Studio, 


Hollywood    Studios. 


Kurrle.  Robert — with  Edwin  Carewe.  United  Studios. 
Landers,  Sam — with  First  National,  United  Smdio 
Lockwood,    J.    R. — 

I din.    Walter — with    Harold    Lloyd    Product! 

Lvons,    Reginald    E. — 

M.icLe.in.  Kenneth  G. — 

M.ii   hall,  Wm. — with  Carlos  Prods. 

Median,    (ieorge — with   Jack    White    Corporation,    F"ine    Arts   Studio 

Milner.  Victor — 

Morgan.  Ira  II. — with  Marion  1  ).i\  ies,  Cosmopolitan, 

Norton,  Stephen  S. — with  Universal  Pictures  Corp, 

Overbaugh,    Roy    F. — New    York   City. 

Pilrner,    Ernest    S. — 

LePicard,  Marcel — New   York  City. 

Perry,  1  lain  — with  Schulberg  Productions. 

Perry,  Paul  P. — with  Emon  Johnson  Prod.,  R.  C.  Studios, 

I '.ili 1. 1.  S..I  —  with  Hunt  St rom berg  Production 

Ries,    Park    J.— 

Ki/ard,    Georges — 

Rons.  I.en  II.  — Leigh-Spencer  Bldg.,  Vancouver,  B.  C. 

Rose,  l.ukson  J. — Arthur  Rosson,  Universal. 

Rusher,    Charles — with    Mary    Pickford,    Pickford  Fairbanks    Studio. 

Schnetderman,   George — with   Fox   Studio, 

Scott,  Homer  A. — First  National,  Ignited  Studios. 

Seitz.    John   F. — with    Rex   Ingram. 

Sharp,    Flenry — with    Thomas    II.    I  rue. 

Short,    Don — 

Smith.   Steve.   Jr.— with   Vitagraph   Studio. 

Steene,    E.    Burton — New    York   City. 

'tiimar,    John — with   Universal   Studio. 

Stumar,    Charles — with    Universal    Studio. 

Tolhurst,    Louis    H. — "Secrets    of    Life."    Microscopic    Pictures. 

pal    Pictures    Corporation. 
Totheroh,   Rollie  H. — with  Charlie  Chaplin.  Chaplin  Studio. 
Turner,  J.  Robert — with  Fox. 
Van    Buren.    Ned — New    York    City. 

uger,  Charles — with  Ernst  Lubitsch. 
Van  Trees,  James  C. — with  First  National,  United  Studios. 
Warrenton,  Gilbert — with  Harry  Pollard,  Universal  City. 
Whitman.  Philip  H. — with  Famous  Players-Lasky,  New  York  City. 
Wilky,  L.  Guy — with  William  de  Mille,  Famous  Players-Lasky. 


Pro 


I  dison,    Thomas   A. — Honorary    Member. 
Webb,    Arthur   C. — Attorney. 


Meetings    of    the    American    Society    of    Cinematographers    are    held    every   Monday   evening.    On    the    lirst    and    the   third   Monday   of   each   month 
the    open    meeting    is    held;    and    on    the    second    and    the    fourth,  the    meeting   of    the    Board    of    Governors. 

Address   until  completion   of    ni-v  Guaranty   Building 

I  103    NO.   EL  c  l\TRO  AVENUE 

I  Ion.*  wooo,  California 


LOYALTY 


PROGRESS 


ART 


'•«'-"'„, 


Vol.  V 
No.  6 


September,  1924 


25  cents 
A  Copy 


T—wiiir   r 


American 
Cinematographer 

Published  by  the  American  Society  of  Cinematographers ,  Inc. 


Pictorial  Side  of  "Captain  Blood" 
By  Steve  Smith,  Jr.,  A.  S.  C. 

"Dedication  Number'     to  Commemorate 
Opening 

Consolidated  Buys  Standard  Film 
Laboratories 


PUBLISHED  IN     HOLLYWOOD     CALIFORNIA 


Greetings 


to  the 
WEST    COAST    CINEMATOGRAPHERS 


Consolidated  Film  Industries,  Incorporated  has 
acquired  the  laboratory,  operating  staff  and 
good  will  of  the  Standard  Film  Laboratories 
of  Hollywood  and  will  hereafter  operate  the 
Standard  plant  as  its  Western  Branch. 

The  same  high  quality  of  product  and  individual 

service  which  Standard  has  rendered  in  the  past 

will  be  maintained. 


Consolidated  Film  Industries,  Inc. 

SEWARD  AND  ROMAINE  STREETS 

Plants — Standard,  Craftsman,  Erbograph,  Republic 
Finance — Commercial  Traders  Cinema 


Vol.  5  SEPTEMBER,   1924  No.  6 

American 
Cinematographer 

Foster  Goss,  Editor  and  Business  Manager 
Board  of  Editors — Victor  Milner,  H.  Lyman  Broening,    Karl    Brown,    Philip    H.    Whitman 
Alfred  B.  Hitchins,  Ph.  D.,  F.  R.  P.  S.,  F.  R.  M.  S.,  F.  C.  S.,  Associate  Editor  and  New  York 
Representative,  33  West  60th  S  reet,  Room  602,  New  York  City 


Contents 


Page 


Consolidated  Buys  Standard  Film  Laboratories        .      .  4 
Pictorial  Side  of  "Captain  Blood"— 

By  Steve  Smith,  Jr.,  A.  S.  C. 5 

Manhattan  Mutterings — By  Philip  H.  Whitman,  A.  S.  C.  8 

Dedication  Number  To  Commemorate  Opening  ...  9 

The  Editors'  Lens .  10 

In  Camerafornia 12 

The  Place  of  the  Motion  Picture  in  Education — 

By  Ernest  L.  Crandall .        .  15 

Testing  Motion  Picture  Machines  for  Naval  Use — 

By  Lieutenant  Commander  C.  S.  Gillette,  U.  S.  N.       .  26 

Releases 26 


An  educational  and  instructive  publication,  espousing  progress    and   art   in   motion   picture   photography. 

Published  monthly  by  THE  AMERICAN   SOCIETY    OF    CINEMATOGRAPHERS,    Inc. 
Subscription  terms:  United  States,  $3.00  a  year;  Canada,  $3.50  a  year;  foreign,  $4.00  a  year;  single  copies 

25  cents.     Advertising  rates  on  application. 
Hollywood,  California  Telephone  Hollywood  4404 

(Copyright,  1924,  by  The  American  Society  of  Cinematographers,  Inc.) 


Four 


AMERICAN      CINEMATOGRAPHER 


September,  1924 


Consolidated  Buys  Standard  Film  Laboratories 


Six  Million  Dollar  Corpor- 
ation Actively  Enters  Film 
Business  in  Los  Angeles. 

In  a  deal  that  is  announced  as  having  involved  one 
million  dollars,  the  Standard  Film  Laboratories  of  Holly- 
wood last  month  passed  to  the  control  of  the  Consolidated 
Film  Industries,   Inc. 

Consolidated  is  an  eastern  organization  with  a  capital- 
ization of  six  million  dollars.  It  was  brought  into  being 
late  last  spring  through  the  banding  together  of  several 
eastern  laboratories,  namely,  Craftsmen  Film  Laborator- 
ies, Erbograph  Company,  Republic  Laboratories  and  Com- 
mercial Traders  Cinema  Corporation. 
Yates  in  Hollywood 

Herbert  J.  Yates,  vice  president  of  Consolidated,  is 
in  Hollywood  directing  affairs  at  the  old  Standard  as 
the   managing  director  of  the   former  organization. 

The  purchase  of  Standard  brings  to  the  Consoldiated 
fold  one  of  the  most  modern  laboratories  in  the  world, 
but  despite  the  excellence  of  the  equipment  of  the  plant, 
it  is  announced  that  thousands  of  dollars  will  be  spent 
at  once  in  more  facilities  and  paraphernalia. 
New  Plant 

Standard  was  completed  a  little  more  than  two  years 
ago,  on  an  extensive  site  at  Seward  and  Romaine  streets, 
near  Santa  Monica  Boulevard,  Hollywood.  Its  founders 
and  heads  until  the  recent  deal  were  John  M.  Nickolaus 
and  S.  M.  Tompkins,  two  widly  known  laboratory  ex- 
perts. Nickolaus  has  since  joined  Metro-Goldwyn-Mayer 
studios  at  Culver  City  as  chief  of  the  laboratory  with  that 
production  outfit. 

Last  year,  with  Nickolaus  and  Tompkins  at  the  head, 
the  interests  of  Standard  were  broadened  in  the  purchase 
of  the  Hollywood  Studios,  located  on  Santa  Monica 
Boulevard  near  Seward  street.  With  the  changed  own- 
ership of  Standard,  however,  the  studio  is  understood  to 
have  reverted  to  the  original  owners.  Standard  also 
lauched  into  the  production  field  to  a  measure  With  the 
making  of  an  educational-industrial  film,  "The  Port  of 
Opportunity,"  the  locale  of  which  was  the  harbor  to 
Los   Angeles   at    San    Pedro,    California. 

Under  the  guidance  of  Nickolaus  and  Tompkins, 
Standard  handled  the  film  of  various  of  the  West's  most 
prominent  producers,  numerous  of  the  screen's  most  suc- 
cessful productions  having  been  taken  care  of  in  their 
laboratory. 

Location  of  Consolidated  in  Hollywood  did  not  come 
as  a  surprise  as  it  was  reported  in  the  May  issue  of  the 
American  Cinematographer ,  subsequent  to  the  New  York 
merger,  that  the  expanded  organization  planned  to  be 
established  in  a  large  plant  in  Los  Angeles. 
Release  Prints 

Consolidated  will  concentrate  on  the  subject  of  making 
release  prints  as  well  as  the  negatives  in  Hollywood,  in- 
stead of  leaving  the  completed  prints  to  the  Eastern  lab- 
oratories, according  to  a  statement  by  Herbert  Yates. 
Yates    Analyzes    Situation 

"The  most  far-reaching  effect,"  Yates  said,  "of  our 
establishing  a  branch  in  Hollywood  will  be  a  greatly 
facilitated  service  on  completed  pictures  to  exchanges  and 
distribution  points  in  the  west.   Heretofore  producers  have 


<*mm? 


Takes  Over  Effects  of  One 
of  World's  Most  Modern 
Laboratory    Establishments. 


employed  local  laboratories  only  to  develop  their  negatives 
and  make  one  sample  print  of  their  completed  picture. 
The  negative  is  then  sent  to  New  York  laboratories. 
Here  the  facilities  for  quick  service  were  much  greater. 
The  necessary  prints  for  showing  in  all  parts  of  the 
United  States  were  made  and  shipped  there.  This  not 
only  caused  delay  in  the  delivery  of  completed  pictures  to 
distribution  points,  but  also  made  it  impossible  for  the 
producer  to  give  his  personal  attention  to  each  print." 
To  Enter  England 

The  scope  of  the  six  million  dollar  corporation  is  in- 
dicated, as  was  announced  in  May  in  this  publication,  in 
the  intention  to  establish  a  large  laboratory  in  England. 
The  purpose  of  this  arrangement  is  given  as  making  neg- 
atives, placed  with  Consolidated  in  the  United  States, 
available  for  printing  in  foreign  countries,  thus  working 
for  prompt  delivery  of  a  product  turned  out  according  to 
American  standards. 

Personnel 

Consolidated's  personnel  includes  L.  James  San  as 
president  and  general  manager ;  Herbert  J.  Yates,  who 
is  in  charge  of  affairs  at  Hollywood,  Harry  M.  Goetz 
and  Leonard  Abrahams,  vice  presidents;  Benjamin  Goetz, 
treasurer ;  and  Herbert  E.  Witmer,  secretary. 

These  officers,  together  with  Ludwig  E.  B.  Erb,  Morris 
San,  Edmund  C.  Dearstyne  and  Joseph  San  comprise  the 
board  of  directors.  Special  representatives  of  the  new 
force  are  Benjamin  Goetz  and  J.  Brophy.  W.  H.  Evarts 
and  A.  Canter  will  continue  in  the  sales  force. 

It  is  understood  that  E.  G.  Patterson,  sales  manager 
for  Standard,  will  continue  with  the  new  organization. 
During  his  Standard  connection,  Patterson  made  exhaust- 
ive journeys  throughout  the  country  among  exhibitors, 
distributors  and  film  executives. 

While  the  gigantic  merger  marks  the  retirement  from 
active  participation  on  the  part  of  Ludwig  G.  B.  Erb,  he 
will  serve  on  the  board  of  directors  as  chief  technical 
advisor. 


Jackson  J.  Rose  Made  Camera  Chief 

of  Clarence  Brown  Production 

Jackson  J.  Rose,  A.  S.  C,  has  been  made  chief  staff 
cinematographer  for  Clarence  Brown,  Universal-Jewel 
productions  and  is  at  present  photographing  "Smoulder- 
ing Fires"  with  a  cast  that  includes  such  celebrities  as 
Pauline  Fredericks,  Wanda  Hawley,  Laura  La  Plante, 
Malcolm   MacGregor   and   Tully   Marshall. 

The  company  is  scheduled  to  leave  for  Yosemite  shortly 
on  location. 

Rose's  affiliation  with  Brown  makes  ace  join  ace  as 
Brown  is  one  of  the  Universal's  topnotchers,  he  having 
directed  three  of  the  past  year's  eminent  successes — "The 
Acquital,"  "The  Signal  Tower"  and  "Butterfly."  Rose 
has  long  been  a  leader  in  his  calling,  having  begun  his 
career  at  old  Essanay.  He  has  filmed  many  important 
productions  including  John  M.  Stahl's  "The  Dangerous 
Age." 


September,  1924 


AMERICAN      CINEM  ATOGRAPHER 


Five 


Pictorial  Side  of 
"Captain  Blood" 


By  Steve  Smith,  Jr.,  A.  S.  C. 


Camera  Made  to  Trumpet 
Swashbuckling  Action  in 
Sweeping  Tale  of  High  Seas 


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/?»  angle  of  the  deck  fighting  action. 

A  great  deal  of  the  pleasure  de- 
rived from  the  audience  from  seeing 
a  film  production  must,  with  due 
credit,  be  traced  directly  to  the  under- 
standing of  the  photographer  in 
charge.  It  is  not  always  the  case  that 
the  man  turning  the  crank  gets  the 
praise  that  is  rightly  his,  but  his  ef- 
forts are  important  and  highly  inter- 
esting. In  the  finished  super-pro- 
duction that  Director  David  Smith 
made  for  the  Vitagraph,  "Captain 
Blood,"  there  were  a  great  many 
very  interesting  knots  for  the  camera- 
man to  unravel. 

Two  Main  Thoughts 
It  is  the  rule  for  us  to  approach 
the  taking  of  a  large  picture  with  two 
main  thoughts  in  mind.  That  we 
must  get  into  our  work  all  the  artistic 
value  that  can  be  obtained ;  that  we 
must  make  to  the  eye  a  pleasing  thing 


so  that  the  mind  will  respond  to  that 
stimulus  and  a  happy  impression  be 
created.  Too,  there  must  be  a  verity 
to  all  shots  that  makes  for  realism. 
And,  secondly,  that  we  must  be  aware 
that  pictures  cost  money  and  the 
thought  of  finances  must  not  be  lost 
in  striving  for  better  pictures. 

To  the  audience  as  well  as  to  the 
craft  a  telling  of  some  of  the  more 
interesting  shots  that  filled  "Captain 
Blood"  has  an  interest,  and  with 
these  we  will  deal. 

Thinking  Before  Taking 
The  large  courtroom  scene  where 
Peter  Blood  is  tried  as  a  rebel  before 
the  bilious  and  sour  Lord  Chief  Jef- 
freys is  a  typical  indoor  shot  that 
needs  thinking  before  taking.  It  was 
necessary  to  give  to  the  audience  by 
photography  a  mental  condition  that 
could  not  be  told  by  physical  action. 


We  were  called  upon  to  create  an 
atmosphere  of  deep  legal  gloom,  age 
old  mental  repression  that  subdues 
people  in  a  courtroom,  tenseness,  and 
a  feeling  of  the  futility  of  finding 
justice  in  a  law  wrangle.  And  to 
do  this,  light  became  our  only  med- 
ium. 

No  Value  Lost 
Lighting  is  the  greatest  tool  that 
a  cameraman  has  at  his  command. 
The  technical  staff  had  finished  a  tre- 
mendous vaulted,  ceilinged  room,  with 
galleries  on  each  side  and  the  docket 
for  the  prisoner  and  bench  for  the 
law.  By  diffusing  the  light  where  it 
struck  the  gallery  crowds  they  were 
subjected  to  the  background,  semi 
distinct,  yet  definable,  while  the  im- 
portant action  and  attendant  charact- 
ers had  to  be  brought  strongly  enough 
(Continued  on  page  7) 


Six 


AMERICAN     CINEMATOGRAPHER 


September,  1924 


Top:  Blood's  flagship,  "Arabella,"  beginning 
her  nose  dive.  This  shot  was  taken  at  ten 
in  the  morning. 

Right:  Explosion  of  3600  pounds  of  100% 
dynamite  which  started  the  "Victorieuse"  to  the 
bottom.  Filmed  off  Catalina  isthmus  at  mid- 
afternoon. 

Bottom:  View  of  the  camera  staff  on  "Captain 
Blood"  on   Bird  Rock  off  the  Catalina   isthmus. 


September,  1924 


AMERICAN     CI  N  EMATOGR  APHER 


Seven 


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7.    Warren    Kerrigan    (Captain    Blood)    and    Jean 
Paige   (Arabella   Bishop)    in  the  garden   scne  before 
the    Governor's    home.      This    shot   was    hastily    con- 
verted  from    an    almost   desolate    end    of   the   studio. 


At  the  left  appears  an  example  of  the  windows  that 
caused  so  much  trouble  inside  the  "Arabella."  At 
the  right  is  a  difficult  mirror  angle.  Where  was 
the  camera  to  get  such  an  effect? 


(Continued  from  page  5) 
into  the  light  so  there  was  no  losing 
of  the  value  of  their  facial  action. 
This  problem  was  one  of  lighting 
solely  and  the  desired  result  obtained 
depended   upon   that. 

Tempering  Light 

The  scenes  shot  of  the  selling  of 
slaves  in  the  market  can  be  classified 
as  interiors  but  held  different  prob- 
lems than  those  of  the  courtroom.  It 
w^as  necessary  to  picture  the  full  cast 
as  they  stood  in  front  of  a  large  open 
door  way.  A  hot  mid-day  sun  light- 
ed the  crowd  of  curious  natives  that 
had  gathered  outside  and  gave  to 
them  more  light  value  than  the  prin- 
cipals had.  It  was  found  that  with 
chiffon  screens  hung  across  the  door 
and  kleigs  used  inside  the  light  could 
be  tempered  to  the  right  degree.  The 
result  was  nearly  that  expected. 

Much  Glass 
A  third  interesting  interior  shot 
almost  wrecked  the  good  humor  of 
the  camera  staff  and  proved  to  be  the 
hardest  of  all  interiors  made  on  the 
picture.      It  was  the  interior  of   the 


cabin  of  the  ship  Arabella.  The  tech- 
nical staff  had  built  an  ornate  boat 
cabin  of  hewn  timber  with  glassed 
windows  on  every  side,  permitting  a 
flood  of  light  from  all  angles.  Try 
as  we  did  to  eliminate  there  would 
always  be  the  reflection  of  an  arc 
light  on  one  window  or  another.  It 
was  a  tough  nut  to  crack.  Finally 
it  was  accomplished  with  the  use  of 
"niggers"  and  the  deft  arrangement 
of  small  spot  lights.  Some  of  the 
prettiest  shots  of  the  picture  resulted 
from   solving   this   lighting   question. 

Different  Handling 

These  few  interior  shots  have  been 
described  for  the  purpose  of  showing 
that  all  interiors  do  not  require  the 
same  handling  of  props  to  get  the 
results,  and  that  they  are  conquered 
by  different  means  in  each  instance. 
The  outdoor  scenes  are  not  met  in  the 
same  manner  and  some  of  these  re- 
quired  figuring  to  do. 

Waiting  On  Wind 
The  location  of  the  fight  between 
Captain    Blood    and    his    pirate    co- 
partners,  Levasseur,   was  among  the 


sand  dunes  near  the  sea.  It  was  facing 
west  and  the  setting  sun  to  get  the  best 
angle  for  us.  The  wind  whipped  the 
sand  into  the  faces  of  the  cast  and 
ruined  makeup  for  most  of  the  day, 
not  to  say  what  it  did  to  the  camera. 
After  experimenting  until  late  into  the 
afternoon  it  was  found  that  the  only 
possible  shot  would  have  to  be  made 
late  in  the  day  after  the  wind  had 
gone  down.  This  brought  the  sun 
low  enough  to  be  an  important  ele- 
ment and  a  dangerous  one.  A  few 
palms  judiciuosly  placed  and  the  ever 
handy  "niggers"  fixed  things  and 
saved  the  day. 

Modern  Objects  Interfere 
To  bring  out  in  all  its  cruel  hard- 
ship the  scene  that  dealt  with  the 
whip-driven  slaves  plowing  in  the  hot 
sun  was  not  an  easy  task.  The  camera 
crew  decided  that  a  common  place 
location  near  the  studio  could  be  used. 
That  is,  it  could  be  used  if  the  right 
angles  to  shoot  from  were  available 
and  provided  that  the  direction  of 
the  plow  could  be  kept  in  line  away 
from  tell-tale  modern  object.  The 
(Continued  on  page  20) 


Eight 


AMERICAN     CINEMATOGR  APHER 


September,  1924 


Manhattan  Mutterings-  By  Philp h  whitman, a.  s 


c. 


Hail!  Hail!  The  Gang's  All  Here 
Cfllf  the  steady  influx  of  California 
cinematographers  continues  at  the  present 
rate,  it  looks  as  though  we  will  have  to 
move  the  new  A.  S.  C,  headquarters  from 
Hollywood  Blvd.,  and  Ivar  St.  to  Forty- 
Second  and  Broadway.  True,  many  of 
the  sun-kissed  sons  stay  but  a  short  time 
but  without  exception  they  all  come  back 
for  more,  despite  the  heat,  cold,  working 
conditions,  soda  fountains  and  lack  of 
cafeterias.  That's  great.  Come  one,  come 
all  and  rest  assured  that  New  York  will 
both  welcome  and  overpower  you  at  one 
and  the  same  time. 


That  Coogan  Bunch 
And  so  it  was  with  sunshine  in  our 
hearts,  if  not  in  our  sky,  that  we  welcomed 
Frank  B.  Good,  A.  S.  C,  who  arrived 
with  Edward  Francis  Cline,  his  director, 
to  make  the  exteriors  for  the  current 
Jackie  Coogan  production.  Good  old 
Frank.  A  big-hearted  boy  from  the  wide 
open  spaces  where  canary  birds  sing  bass. 
Frank  arived  fully  resolved  not  to  buy  any 
Woolworth  Buildings  or  Brooklyn 
Bridges.  Within  24  hours  they  had  sold 
him  Central  Park,  two  subway  trains  and 
all  of  the  busses  on  Fifth  Ave. 


Cutting 
(]}  Director  Bill  Nye  has  just  finished  his 
latest  picture,  "Born  Rich"  for  the  Gar- 
rick  Picture  Corp.  Bert  Lytell  and 
Claire  Windsor  are  the  feature  players, 
the  photography  being  handled  by 
George  Folsey. 


New  Production   Unit 
€]J  Director  Webster  Campbell  has  start- 


ed production  on  "Sandra"  starring  Bar- 
bara La  Marr  for  Sawyer-Lubin  Produc- 
tion. Work  is  being  done  at  the  Biograph 
studios  with  Rudolph  Bergquist  at  the 
camera. 


Tough  Luck 

4jWe  have  all  heard  the  joking  impres- 
sion, "  A  Bug  In  His  Ear,"  but  Roy 
Overbaugh,  A.  S.  C,  fails  to  see  the  joke. 
While  on  location  with  Director  John 
Robertson  in  Florida,  Roy  had  the  mis- 
fortune to  have  a  swamp  insect  of  some 
kind  fly  into  his  ear.  As  a  result,  an  in- 
fection set  in  and  Roy  has  been  confined 
to  bed  and  under  a  doctor's  care  for  over 
two  weeks.  During  his  absence  from  the 
Richard  Barthelmess  production  John 
Seitz,  A.  S.  C,  is  substituting  as  chief 
cinematographer. 


In  Gay  Paree 

{J  Comes  the  news  from  abroad  that 
Kenneth  Gordon  MacLean,  A.  S.  C,  has 
arrived  safely  in  Paris  enroute  to  Rome 
to  join  the  Ben  Hur  production  forces. 
Friend  Mac,  who  was  accompanied  on 
the  trip  by  a  staff  of  technicians,  is  to  do 
all  the  trick  and  miniature  work  for 
Director  Fred  Niblo.  MacLean  stopped 
over  in  New  York  for  a  day  or  two  before 
sailing  and  renewed  many  old  friend- 
ships. We  join  with  many  in  wishing 
him  the  best  of  luck. 


Pulling  a  Fast  One 
IJIf  you  think  New  York  assistants  are 
not  fast,  lsten  to  this  one  pulled  by  Matty 
Cohen  who  happens  to  be  the  writer's  as- 
sistant.     I  was  shooting  some  very  im- 

(Cont'inued   on   page  9) 


September,  1924 


AMERICAN     CINEMATOGRAPHER 


Nine 


Dedication  Number  to  Commemorate  Opening 


A.  S.  C.  Decides  to  Issue 
Special  Number  to  Preserve 
Memory  of  Epochal  Event. 

To  commemorate  the  opening  of  the  new 
offices  of  the  American  Society  of  Cinematog- 
raphers  in  the  Guaranty  Building,  the  forth- 
coming October  issue  of  the  American  Cine- 
matographer  will  be  published  as  a  "Dedi- 
cation Number." 

This  issue  will  trace  the  progress  of  the 
cinematographer  from  the  earliest  days — 
from  the  pioneer  days  in  New  York  and  Los 
Angeles  through  the  various  periods  until  the 
American  Society  of  Cinematographers  was 
founded  in  the  latter  part  of  1918  with  the 
consequent  steady  advancement  in  the  cine- 
matographic art. 

This  "Dedication  Number"  will  be  without 
precedent,  nothing  of  its  kind  having  ever 
been  essayed  heretofore — it  will  crystalize 
within  the  columns  of  the  printed  page  just 
what  progress  cinematography  (and  that 
really  means  the  industry)  has  made  since 
films  first  found  their  way  into  the  nickle- 
odeons. 

The  decision  to  issue  the  special  number 
was  made  by  the  American  Society  of  Cine- 


Number  to  Be  Replete  with 
Material  of  Lasting  Value 
on  Motion  Picture  Matters. 

matographers  after  a  full  consideration  of 
the  possibilities  with  which  it  is  fraught.  In 
a  word,  it  will  attempt  to  preserve  for  pos- 
terity a  marking  stone  of  the  1924  stage  of 
cinematography  as  compared  with  its  initial 
status. 

It  is  planned  to  make  the  "Dedication  Num- 
ber" of  something  more  than  transient  interest 
which  attends  similar  enterprises.  It  is  hoped 
that  this  issue  of  the  American  Cinematog- 
rapher, more  than  any  others,  will  be  of  such 
value  that  it  may  carry  within  itself  the  urge 
for  preservation  for  future  reference. 

While  the  issue  is  being  made  primarily  to 
place  the  opening  of  the  A.  S.  C.  offices  per- 
manently on  the  calendar  of  things  cinemat- 
ographic, it  is  hoped  that  the  contents  of  the 
number  itself  will  be  of  such  as  to  make  it 
memorable  as  a  piece  of  film  literature. 

Plans  for  the  "Dedication  Number"  were 
brought  to  a  conclusion  at  a  recent  open  meet- 
ing of  the  American  Society  of  Cinemato- 
graphers and  as  a  result  every  A.  S.  C.  mem- 
ber is  working  to  make  it  a  thing  of  lasting 
success. 


(Continued  from  page  8) 

portant  scenes  the  other  day  when  I  dis- 
covered that  the  magazine  I  was  using  on 
my  camera  was  leaking  light.  Calling 
Matty  I  told  him  to  go  get  me  a  magazine 
and  not  to  come  back  without  a  good  one. 
In  about  two  minutes  he  dashed  back  and 
handing  me  a  copy  of  the  American  Cine- 
matographer said,  "You  can't  beat  that 
one  boss." 


Answer 
C]JWe  want  to  know: 
What  Ales  Joe  Morgan? 
If   Gilbert    Warrenton    once    lived    at 


52nd  and  Broadway? 

Why  Bob  Kurrle  didn't  say  hello  to 
anyone  while  in  New  York? 

How  the  people  on  Riverside  Drive 
feel  since  missing  George  Barnes  in  his 
Chandler  Sedan? 

Which  one  was  Fred  Jackman  in  the 
picture  published  in  last  month's  "Cine- 
matographer? 

What  on  earth  Charlie  Rosher  is  doing 
in  Berlin? 

and 
Why  they  call  me  MY  BOY  PHIL? 


Ten 


AMERICAN     CINEMATOGRAPHER 


September,  1924 


The  Editors'  Lens 


focused  by  FOSTER  GOSS 


€jWith  Consolidated's  acquisition  of  the  Standard  Film  Labora- 
tories, is  carried  the  announcement  that  the  new  Hollywood 
organization  is  to  concentrate  on  the  making  of  release  prints  in 
Hollywood — at  the  seat  of  film  production. 

IJ  Such  a  policy  has  been  urged  repeatedly  and  its  consummation  will 
fulfill  the  desires  of  many.  Proponents  of  such  an  arrangement 
have  many  reasons  therefor — prevention  of  duplication  in  meth- 
ods and  overhead;  eliminating  turning  over  the  making  of  re- 
lease prints  to  a  lab  crew  which  is  not  in  direct  and  personal 
touch  with  the  cinematographer;  saving  of  time,  etc.,  etc. 

CjjThis  much  is  certain — too  much  care  cannot  be  taken  with  the 
release  prints — as  from  them  the  public  sees  the  picture.  Bad 
work  in  their  making  costs  money  to  everyone  from  the  exhibitor 
to  producer  and  a  loss  of  prestige  to  the  cinematographer. 

CJAs  John  M.  Nickolaus,  one  of  the  retiring  heads  of  Standard, 
is  wont  to  say,  the  release  print  sums  up  all  that  the  producer  has 
expended — in  "a  lot  of  little  pictures." 


IJ  Making  motion  pictures  still  is  regarded  as  somewhat  of  a  ro- 
mance, not  only  in  the  various  states  of  the  union,  but  more  so  in 
foreign  lands.  It  indeed  is  an  important  event  to  the  populace 
when  a  film  company  arrives  in  a  community  on  the  other  side 
of  the  world. 

^|  From  that  company,  such  a  community — as  well  as  the  entire 
country  thereabouts  as  its  influence  may  be  felt — forms  or  re- 
forms, from  first  hand  information  or  observation,  its  opinion  of 
the  industry  in  general.  There  is  nothing  like  personal  contact; 
and  it  is  an  unusual  kind  of  familiarity  that  will  not  breed  con- 
tempt. 

Ijjlt  is  to  the  interest  of  filmdom  as  a  whole,  then,  that  only  such 
companies  that  do  not  tend  to  misrepresent  pictures  be  tolerated 
to  go  to  the  out-of-way  places  where  they  will  be  looked  upon 
as  representing  the  cinema. 


September,  1924  AMERICAN     CINEMATOGRAPHER  Eleven 


©In  brief,  organizations  which  are  formed  in  such  a  manner  as 
to  result  in  distrust  instead  of  confidence  abroad  are  to  be  dis- 
couraged. Taking  pictures  in  remote  places  should  be  some- 
thing more  than  a  pleasure  trip  around  the  world  for  the  particip- 
ants; and  this  should  be  especially  borne  in  mind  out  of  justice 
to  the  outfits  that  are  really  working  to  get  travel  pictures.  What 
hardships  will  be  worked  on  the  latter  companies  if  they  have 
to  go  into  a  region  which  has  had  an  unpleasant  experience  with 
a  preceding  film  outfit. 

^And  when  native  picture  sources  and  necessary  local  courtesies 
come  to  be  denied  the  people  whose  product  will  eventually  reach 
the  screen,  the  public,  in  the  ultimate,  is  robbed  of  entertaining 
education. 

One  Half  of  One  Percent? 

€]JIn  a  series  of  articles  which  appeared  in  the  Wall  Street  Journal, 
a  leading  Eastern  financial  daily,  and  reprints  of  which  have  been 
circulated  by  the  Association  of  Motion  Picture  Producers,  there 
appears,  among  other  statistics  on  film  production,  the  item  that 
the  salaries  paid  cinematographers,  together  with  directors  and 
"assistants"  amounts  to  ten  per  cent  of  the  of  the  negative  cost. 

f|  If  ten  percent  of  the  negative  cost  includes,  besides  the  cinematog- 
raphers' salaries,  those  paid  to  the  director  and  "assistant,"  then 
what  must  be  the  percentage  of  the  entire  negative  cost  paid  the 
cinematographer — when  the  ratio  of  his  pay  to  that  of  the  di- 
rector is  considered,  not  to  forget  the  wages  of  assistants  which 
also  must  come  out  of  the  ten  percent. 

Ifl  In  considering  the  fact  that  motion  pictures  are  pictorial — strange 
as  it  may  seem — the  cinematographers'  percentage  is  infinitesmal. 


^f  Says  L.  B.  Fowler,  motion  picture  editor  of  the  Illustrated  Daily 
News:  "To  date,  it  is  sanely  and  frankly  admited,  motion  pictures 
have  achieved  largely  nothing  authentically  artistic,  unless  it  is 
in  the  advancement  of  photography  .  .  .  What  constitutes  the 
artistic  beauty  of  a  painted  landscape  is  mood  and  the  peculiar 
human  quality  that  the  artist  throws  into  his  work.  A  cinemato- 
grapher with  some  understanding  of  aesthetics  can  duplicate,  and 
very  often  emphasize,  a  natural  scene  on  the  screen,  without  de- 
tracting from  the  dramatic  quality  of  his  picture." 


Twelve 


AMERICAN     CINEMATOGR  APHER 


September,  1924 


Ernegt  Haller,  A.  S.  C,  is  filming  "  Go  Getters"  at 
the  F.  B.  O.  studios,  Del  Andrews  directing.  Alberta 
Vaughn   and   George   O'Hara   head   the   cast.      Ernie   is 

shooting  plenty  of  stunt  action  on  trains. 

*  *     * 

Gilbert  Warrenton,  A.  S.  C-,  is  photographing  "Oh 
Doctor,"  Universal  comedy  drama,  directed  by  Harry 
Pollard  and  starring  Reginald  Denny.  The  cast  includes 
Mary  Astor,   Helen   Lynch,   Lucile  Ward,   William  V. 

Mong,  Tom  Rickets  and  Otis  Harlan. 

*  *     * 

Ira  Morgan  and  George  Barnes,  both  A.  S.  C,  mem- 
bers, have  arrived  in  Hollywood  for  the  filming  of  the 
next  Marion  Davies  production.     This  is  their  first  visit 

to  Hollywood   in  many  moons. 

*  *     * 

Robert  Kurrle,  A.  S.  C,  has  completed  the  camera 
work  of  "Madonna  of  the  Streets,"  Edwin  Carewe's 
latest  production  for  First  National.  Mme.  Nazimova 
and  Milton  Sills  head  the  cast. 

*  *     * 

Georges  Benoit,  A.  S.  C,  has  left  for  Colorado  where 
he  will  photograph  "The  Birth  of  the  West"  for  the 
Colorado  Picture  Company.  John  J.  Adolfi  will  direct. 
The  cast  will  include  Robert  Frazer,  Robert  Edeson  and 
Charles  Murray.     Advance  plans  say  that  500  Indians, 

cowboys  and  soldiers  will  be  used  in  the  production. 

*  *     * 

H.  Lyman  Broening,  A.  S.  C,  is  completing  the  cinema- 
tography on  "This  Woman,"  a  Warner  Brothers  produc- 
tion directed  by  Phil  Rosen. 

*  *     * 

Harry  Perry,  A.  S.  C,  is  shooting  the  first  Motion 
Picture  Directors  Association  production  for  Grand-Asher 

release.     Paul  Powell  is  directing. 

*  *     * 

.    Paul    Perry,   A.    S.    C,     has    finished     filming     "The 
Grandstand   Play,"    Emory  Johnson's   latest   production, 

based,  as  the  title  implies,  on  the  national  pastime. 

*  *     * 

Karl  Brown,  A.  S.  C,  has  begun  cinematography  on 
James  Cruze's  next  feature   for  Famous   Players-Lasky. 

Betty  Compson  will  be  starred. 

*  *     * 

Alfred  Gliks,  A.  S.  C,  is  shooting  Paramount's  pro- 
duction of  the  late  Emerson  Hough's  "North  of  36," 
which  Irvin  Willat  is  directing.  Hough,  it  will  be  re- 
membered, wrote  "The  Covered  Wagon." 

*  *     * 

King  Gray,  A.  S.  C,  is  filming  Larry  Trimble's  latest 
production. 

Due  to  a  change  in  production  plans,  Bert  Glennon, 
A.  S.  C,  did  not  leave  for  New  York  City  where  Paul 
Bern's  next  production  for  Paramount  was  scheduled  to 
be  made.  Instead,  Bern  has  returned  to  Hollywood  and 
his  next  feature  is  slated  to  be  made  at  the  Famous 
Players-Lasky  West  Coast  studios. 


While  honors  are  heaping  up  for  his  work  in  "The 
Sea  Hawk,"  Norbert  Brodin,  A.  S.  C,  is  hard  at  work 
on  the  filming  of  Frank  Lloyd's  next  production  for 
First  National  release. 

*     *     * 

Dan  Clark,  A.  S.  C,  has  been  busier  than  ever  filming 
Tom  Mix's  latest  Fox  feature. 


Floyd  Jackman,  A.  S.  C,  has  joined  hands  with  Fred 
Jackman  and  Homer  Scott,  both  A.  S.  C,  members,  in 
working  on  the  "trick"  phases  of  First  National's  "The 
Lost  World." 

*  *     * 

Arthus  Edeson,  A.  S.  C,  has  finished  the  filming  of  the 
character  phases  of  the  same  productioin. 

*  #     * 

For  the  first  time  in  many  months,  Walter  Lundin,  A. 
S.  C,  is  not  shooting  his  star,  Harold  Lloyd,  for  the  rea- 
son that  Lloyd  has  left  on  a  trip  to  the  east.  Lundin's 
association  with  Lloyd  has  traced  the  rise  of  the  comedian 
to  one  of  the  screen's  most  famous  stars. 


Kenneth  MacLean,  A.  S.  C,  postcards  from  France 
that  he  will  write  at  length  from  Rome,  where  he  is  to  do 
special  work  on  the  Metro-Goldwvn-Maver  production 
of  "Ben  Hur." 

Reginald  Lyons,  A.  S.  C,  has  been  confined  to  the  hos- 
pital as  the  results  of  an  injury  to  his  back  sustained  when 
Reggie  was  endeavoring,  it  is  said,  to  rob  the  assistant  of 
his  perogative  of  carrying  a  camera  up  a  hill — which 
proves  that  Reggie's  duties  have  been  weighty. 

Seriously,  Reggie  had  quite  a  siege  although  he  is,  with 
the  aid  of  a  cane,  up  and  about  now.  It  was  at  first 
thought  that  he  had  sustained  a  broken  back  but  a  series 
of  a  score  or  more  of  X-rays  showed  that  there  was  a 
slight  fracture — which  makes  Reggie  aver  that  he  couldn't 
get  away  from  photography  even  in  a  hospital,  but  then 
it  was  a  Hollywood  hospital. 

Reggie  recovered  just  in  time  to  be  able  to  attend  the 
Los  Angeles  opening  of  Vitagraph's  "Between  Friends," 
which,  directed  by  J.  Stuart  Blackton  from  the  Robert 
W.  Chambers  novel,  was  photographed  by  the  A.  S.  C. 
member.  Lou  Tellegen,  Alice  Calhoun,  Anna  Q.  Nilsson, 
Norman  Kerry,  Stuart  Holmes  and  other  celebrities  ap- 
peared before  Reggie's  camera  in  this  production. 

The  Los  Angeles  premiere  was  held  at  the  Forum 
theatre,  the  newest  of  the  city's  long  run  houses,  it  hav- 
ing been  opened  with  "America"  some  time  ago. 

*  *     * 

Stephen  S.  Norton,  A.  S.  C,  has  been  in  Santa  Bar- 
bara, Calif.,  on  location. 

*  *     * 

James  C.  Van  Trees,  A.  S.  C,  is  shooting  his  latest 
First  National  vehicle.     John  Francis  Dillon  is  directing. 


September,  1924  AMERICAN     CINEMATOGRAPHER  Thirteen 


"Permanent    Value 


yy 


ERMANENT  VALUE— and  the  adver- 
tisers who  take  advantage  of  the  pages 
of  the  American  Cinematographer  in  its 
forthcoming  "Dedication  Number"  will  be  dis- 
seminating the  message  of  their  product  months 
after  October,  1924,  has  slipped  into  the  distant 
past.  Present  value?  Yes — but  more  than  that 
to  the  advertiser.  His  message  will  live  and  en- 
dure to  a  day  when  he  himself  may  have  long 
since  forgotten  that  he  ever  wrote  the  ad — but 
the  ad  will  go  working  on. 

Many  friends  of  the  A.  S.  C,  as  soon  as  they 
heard  of  the  plans  to  commemorate  the  open- 
ing of  the  new  headquarters,  immediately  made 
arrangements  for  representation  in  the  "Dedi- 
cation Number."  But  there  are  still  advantag- 
eous positions  available  in  this  enduring  record 
— for  those  who  decide  in  time. 


Fourteen  AMERICAN     CINEMATOGRAPHER  September,  1924 


EASTMAN 
NEGATIVE  FILM 

The  varying  conditions  of  lighting 
under  which  the  cinematographer 
must  work — one  day  in  the  studio, 
the  next  on  location — make  drastic 
demands  on  the  negative  film. 

Eastman  Negative  Film  meets  every 
requirement — you  can  count  on  it 
for  constant  uniformity,  wide  latitude, 
abundant  speed. 


Your  negatives  deserve  to  be  printed 
on  Eastman  Positive  Film — it  carries 
quality  from  studio  to  screen. 


EASTMAN    KODAK   COMPANY 

ROCHESTER,  N.  Y. 


September,  1924 


AMERICAN     CINEMATOGRAPHER 


Fift 


eetf 


The  Place  of  the  Motion  Picture  in  Education 

From    Transactions,    Society       By  Ernest  L.  Crandall        Place  of  Films  in   Education 
of  Motion  Picture  Engineers Supf,vi""  ol  %T"dci&  °'  Edua"ion-  Declared  of  Great  Importance 


Had  this  paper  been  prepared  ten  years  ago,  or  even 
five  years  ago,  it  could  hardly  have  borne  the  title  I  have 
given  it.  Almost  inevitably  it  would  have  taken  the  in- 
terrogative form:  "Has  the  motion  picture  a  place  in 
education?"  Happily  that  question  has  now  been  ans- 
wered and  answered  in  the  affirmative.  Hence  we  are 
privileged  rather  to  examine  the  question  of  precisely 
what  place  should  be  accorded  to  the  motion  picture  in 
our  educational  process. 

A   Necessary   Distinction 

In  saying  that  it  has  at  last  been  determined  that  the 
motion  picture  has  a  place  in  education,  I  by  no  means 
mean  to  imply  that  the  use  of  motion  pictures  as  a  medium 
of  instruction  has  as  yet  been  generally  recognized  by 
educators.  That  is  rot  the  fact.  To  some  extent  the  mo- 
tion picture  has  been  adopted  as  an  aid  to  instruction, 
thought  its  adaptability  is  still  questioned  in  some  circles. 
We  have  yet  far  to  travel  in  that  direction,  but  before  we 
can  even  discuss  that,  there  is  a  disinction  to  be  made, — 
a  distinction  Which  is  vital,  namely,  the  distinction  be- 
tween the  motion  picture  as  an  experiential  fact  and  the 
motion  picture  as  an  implement  of  instruction. 

The  recognition  and  general  adoption  of  the  motion 
picture  as  a  teaching  tool,  which  is  what  many  educators 
have  envisaged  and  are  steadily  aiming  at,  is  one  thing. 
Quite  another  thing  is  the  recognition  of  the  motion  pic- 
ture as  a  force  to  be  dealt  with  in  education,  as  a  factor 
in  life  that  can  no  longer  be  ignored  by  the  educator. 

In  this  latter  sense,  the  educational  world  might  ulti- 
mately determine  to  leave  the  motion  picture  where  it  is, 
in  the  theatre,  seeking  only  to  improve  and  regulate  it 
there,  and  not  attempting  in  any  broad  and  universal 
sense  to  utilize  it  in  the  formal  educational  process. 
Personally,  I  do  not  believe  that  this  will  be  the  outcome. 
However,  the  distinction  we  have  made  is  as  interesting 
as  it  is  essential  because  it  brings  us  face  to  face  with  a 
reformulation  of  our  inquiry,  and  a  reformulation  which 
should  prove  illuminating  if  not  conclusive. 

Let  us  state  our  question  then  in  the  alternative  form : 
— Is  the  place  of  the  motion  picture  in  education  merely 
that  of  a  great  and  practically  universal  fact  or  factor  in 
life,  which  must  be  reckoned  with,  controlled,  and  even 
studied, — as  is  the  case,  for  instance,  with  the  drama ;  or 
is  it  also  an  instrumentality  through  which  we  can  most 
effectively    teach    many   other    things? 

The  answer  is  that  it  is  both.  That  it  is  the  former 
the  whole  educational  world  has  come  to  recognize,  but 
to  recognize  only  in  a  vague  sort  of  way.  The  motion 
picture  is  here.  It  has  invaded  modern  life  so  completely 
and  so  conspicuously  that  something  must  be  done  about 
it.  But  what?  That  represents  just  about  the  bewil- 
dered state  of  mind  of  great  masses  of  the  teaching  pro- 
fession on  the  subject. 

On  the  other  hand  there  are  a  definite  few,  who,  rec- 
ognizing this  phase  of  the  motion  picture,  namely,  its 
importance  as  an  experiential  fact  in  the  present  and 
future  life  of  the  child,  see  in  it  also  a  teaching  tool, —  the 
most  effective  teaching  tool  ever  placed  in  the  hands  of 
the  trainer  of  youth,  if  properly  harnessed  to  its  task. 


An  an  Experiential  Fact 

Let  us  consider  for  a  moment  the  first  aspect  of  the 
matter, —  the  motion  picture  as  an  experiential  fact  in 
life.  From  a  curious  toy  or  a  dubious  form  of  cheap 
amusement,  the  cinema  has  developed  into  a  species  of 
literature.  It  may  be  good  literature  or  bad  literature, 
but  literature  it  certainly  is,  and  a  distince  species  of 
literature.  It  has  its  psychological  basis,  its  laws  of  con- 
struction, its  tricks  and  devices,  its  tropes  and  modes, 
white  lists,  and  maintaining  some  sort  of  official  or  un- 
like any  other  form  of  literature.  As  such  how  are  we  as 
educators  to  treat  it?  Shall  we  leave  it  in  the  state  of 
taboo  under  which  the  drama  rested  for  centuries?  Shall 
we  merely  try  to  curb,  to  constrain,  to  regulate?  Shall 
we  have  done  our  full  duty  by  preparing  black  lists  and 
white  lists,  and  maintaining  some  sort  of  official  or  un- 
official, some  sort  of  disguised  or  undisguised  censor- 
ship? Or  should  we  accord  it  a  place  in  our  curriculum, 
not  as  a  mechanical  device  now,  but  as  a  subject  of  study, 
teaching  our  pupils  to  undestand  its  laws  and  to  evaluate 
its  standards,  shaping  their  judgment  and  training  their 
taste  with  regard  to  its  output,  just  as  the  college  and  even 
the  secondary  schools  have  at  last  come  to  do  for  the 
drama,  once  the  most  neglected  if  not  the  most  despised 
species  of  literature?  This  is  a  question  most  intelli- 
gently developed  by  Professor  Charles  H.  Judd  of 
Chicago  University,  in  a  paper  published  in  the  March, 
1923,  number  of  The  School  Review,  published  by  Chica- 
go University.  I  think  there  can  be  no  doubt  of  the  ulti- 
mate attitude  of  educators  on  this  question,  virtually 
all  of  whom,  as  I  have  implied,  have  at  last  been  dimly 
stirred  by  its  insistence.  However,  I  feel  that  we  are 
here  today  more  distinctly  concerned  with  the  other  ques- 
tion, namely,  whether  the  motion  picture  is  in  itself  an 
instrumentality  through  which  many  things  can  be  taught 
most  effectively? 

Effective    Teaching    Tool? 

For  me,  merely  to  state  this  question  is  to  answer  it. 
Asking  if  the  motion  picture  can  be  used  for  teaching  is 
like  asking  if  water  is  wet,  or  rather  let  us  say,  if  water 
slakes  thirst  or  food  satisfies  hunger.  If  it  is  a  form  of 
literature,  it  is  even  more  certainly  a  great,  universally 
recognized  and  universally  encountered  form  of  expres- 
sion. As  such,  it  must  take  its  place  somewhere  beside 
the  printed  page  and  the  spoken  word  as  a  means  of  im- 
parting ideas. 

Universal   Teacher 

The  fact  is  that  the  motion  picture  is  teaching  all  the 
time.  Indeed  we  are  more  or  less  disturbed,  and  with 
good  reason,  about  the  things  it  is  teaching  and  the  way 
it  is  teaching  them.  Leaving  at  one  side  this  disturbing 
aspect,  we  have  only  to  reflect  for  a  moment  upon  the 
extent  to  which  the  screen  has  extended  the  mental  hori- 
zon of  great  masses  of  our  people,  to  be  convinced  of  its 
educational  efficacy.  I  think  it  cannot  be  gainsaid  that 
more  than  any  other  agency  in  modern  life,  more  than 
the  flood  of  cheap  books,  the  multiplicity  of  magazines  or 
the  illustrated  newspaper,  the  motion  picture  has  brought 
to  the  man  in  the  street  a  knowledge  of  the  world  he  lives 


Sixteen 


AMERICAN     CINEMATOGRAPHER 


September,  1924 


WINFIELD-KERNER 

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American  Society  of  Cinematographers 


SCHEIBE'S  PHOTO-FILTER  SPECIALTIES 

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If  my  many  varieties  do  not  always  fill  the  bill,  tell 
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in,  in  virtually  all  of  its  aspects.  Places,  names,  happen- 
ings far  from  his  own  habitat,  discoveries,  inventions,  ex- 
periments, scientific  or  industrial,  throughout  the  world, 
plans,  problems  and  currents  of  thought  in  every  field  of 
human  activity,  glimpses  of  the  past  and  speculations  as 
to  the  future, — all  these  have  come  to  mean  more  to  the 
average  man,  especially  the  urban  dweller,  than  ever  be- 
fore in  the  history  of  mankind,  and  all  because  the 
cinema  in  tireless  and  ingenious  hands  is  visualizing  for 
him  daily  the  things  that  men  are  working  at  or  thinking 
about  everywhere. 

Extension  of  Camera  and  Microscope 
We  must  come  a  little  nearer  to  the  heart  of  our  prob- 
lem, however.  To  recognize  the  screen  as  a  universal 
teacher,  might  be  merely  to  class  it  with  the  newspaper, 
which,  however,  indispensable  in  the  teaching  of  current 
events,  is  scarcely  an  ideal  medium  of  universal  application 
in  the  teaching  process.  The  ideal  value  of  the  motion 
picture  lies  not  so  much  in  the  fact  that  it  is  a  form  of 
expression,  as  in  the  fact  that  it  is  a  recording  instrument. 
Let  us  approach  the  question  from  a  different  angle. 

In  man's  intellectual  conquest  of  the  world  in  which 
he  dwells,  there  are  just  two  instruments  of  his  own  in- 
vention that  have  furthered  his  progress  and  made  pos- 
sible his  achievement.  They  are  the  camera  of  the  ex- 
plorer and  the  microscope  of  the  scientist.  Now  the  im- 
mense teaching  value  of  the  motion  picture  lies  primarily 
in  the  fact  that  it  is  an  extension  of  these  two  instruments. 
Indeed,  we  hear  so  much  of  socialization,  I  think  it  would 
be  a  rather  happy  phrase  to  describe  the  motion  picture 
as  a  socialization  of  the  camera  and  the  microscope,  mak- 
ing available  for  great  masses  at  once,  and  virtually  in 
perpetuity,  the  startling  records  of  these  two  supersensi- 
tive extensions  of  human  vision. 

Before  the  motion  picture  came,  the  explorer  or  the 
globetrotter  who  returned  from  parts  unknown  had  to 
content  himself  with  publishing  an  illustrated  volume  or 
two,  or  a  lecture  tour  illustrated  with  detached  and  life- 
less, though  of  course  often  very  beautiful  views.  Equally 
in  those  days,  the  scientist  pouring  over  his  microscope, 
was  compelled  to  make  most  elaborate  drawings  and 
sketches,  to  convey  even  to  his  fellow  scientists  an  idea  of 
what  went  on  beneath  his  eye.  Today  the  explorer  can 
take  all  mankind  with  him  on  his  voyagings  and  the 
scientist  invites  the  whole  world  into  his  laboratory.  Thus 
the  motion  picture  has  a  certain  inherent  power  all  its 
own  that  divests  it  for  all  of  us  of  the  commonplace  and 
that  in  turn  invests  all  of  us  with  a  sort  of  superconscious- 
ness,  as  though  we  were  in  very  truth  gods  or  supermen. 
With  it  we  mount  up  into  the  air,  become  companions  to 
the  cloud  and  ride  upon  the  wind ;  with  it  we  dive  down 
into  the  water  and  bring  up  the  secrets  of  the  vasty  deep ; 
with  it  we  explore-  the  known  and  unknown  surface  of 
the  earth,  visiting  not  only  far  lands  and  strange  peoples 
and  bringing  back  a  record  of  their  manners  and  customs, 
their  modes  and  standards  of  life,  but  penetrating  forest 
and  jungle  from  the  frozen  fastnesses  of  the  poles  to  the 
festooned  forests  of  the  equator,  spying  upon  the  life  habits 
of  bird  and  beast  and  reptile ;  with  it  we  approach  the 
potentate  upon  his  throne,  accompany  the  statesman  into 
his  cabinet,  invade  the  legislative  halls  of  states  and 
nations  and  sit  as  silent  spectators  at  the  very  congress  of 
the  world ;  with  it  we  accompany  the  soldier  out  upon  the 
field  of  battle  until  the  "rockets'  red  glare"  and  "the 
bombs  bursting  in  air"  are  translated  from  poetic  metaphor 


September,  1924 


AMERICAN     CINEMATOGRAPHER 


Seventeen 


to  grim  reality;  with  it  we  sit  beside  the  sick  bed  with  the 
watching  physician  or  follow  the  surgeon's  lancet  through 
nerves  and  tissues,  leaving  an  imperishable  record  for  the 
guidance  of  future  skill  in  difficult  operations;  with  it 
we  analyze  the  pulsations  of  the  heart  and  number  the  life 
giving  corpuscles  as  they  course  through  the  veins;  with 
it  we  study  the  structure  and  the  function  of  every  living 
thing,  and  penetrate  the  mystery  even  of  the  cell,  that  unit 
of  organic  life ;  with  it  we  visualize  the  action  and  re- 
action of  molecule  and  atom  and  electron,  and  spy  upon 
the  virgin  crystal  as  it  rises,  like  Venus,  from  its  bath  in 
the  chemical  solution.  No  doors  are  closed  to  it,  no 
secrets  hid,  no  barriers  insurmountable.  Even  the  barrier 
of  time  recedes  before  it,  so  that  through  it  and  through 
it  alone  man  has  been  able  at  least  with  measurable  satis- 
faction to  reconstruct  past  ears  of  the  world's  formation, 
rehearse  the  mighty  pageantry  of  history,  and  forecast 
vast  reaches  of  the  future. 

Substitute  for  Direct  Sense  Experience 

Fundamentally,  the  value  of  the  motion  picture  in 
education  rests,  of  course,  upon  a  psychological  basis.  The 
great  bulk  of  our  practical  knowledge  comes  to  us  through 
the  senses  and  by  far  the  greater  part  of  this  through  the 
sense  of  vision.  It  may  be  possible  to  reduce  these  pro- 
portions of  percentages,  as  some  have  sought  to  do ;  but 
it  seems  to  me  a  futile  sort  of  exercise.  It  is  matter  of 
common  observation  that  our  eyes  are  the  most  valuable 
part  of  our  sensory  equipment.  Now,  it  may  be  possible 
by  scription,  explanation  and  narration  to  convey  to  others 
a  fairly  accurate  impression  of  our  sense  experiences, 
through  the  written  or  spoken  word.  Obviously,  how- 
ever, this  implies  a  considerable  wealth  of  kindred  sense 
experience  on  their  part.  Otherwise  they  would  not  be 
able  to  receive  and  interpret  our  account.  If  you  want  to 
test  this  just  try  to  draft  a  description  of  a  dog  that  you 
yourself  believe  would  convey  an  accurate  impression  to 
an  adult  who  had  never  seen  one,  and  note  the  difficul- 
ties you  encounter.  Then  take  some  six  year  old  child 
by  the  hand  and  walk  down  the  street.  You  will  dis- 
cover that  he  recognizes  every  canine  he  encounters, 
though  they  may  be  of  various  colors,  though  some  may 
have  short  hair  and  others  long,  though  some  may  be 
twice  as  large  as  himself  and  others  not  much  bigger  than 
his  pet  kitten.  The  reason  is  that  this  is  an  item  of 
knowledge  that  he  has  worked  out  for  himself  through 
the  comparison  and  evaluation  of  his  own  immediate  sense 
experiences.  Other  things  being  equal,  then,  that  indi- 
vidual will  be  best  informed  who  has  the  greatest  wealth 
of  well  co-ordinated  sense  experiences. 

Now,  I  think  no  one  will  dispute  that  the  motion  picture 
is  in  many  aspects  the  nearest  approach  to  and  the  most 
nearly  perfect  substitute  for  immediate  observation,  so  far 
as  the  same  is  dependent  upon  mere  vision.  It  must  be 
remembered  of  course,  that  looking  is  not  seeing,  but  that 
is  equally  true  of  actual  vision.  Certainly  the  motion 
picture  does  bring  the  world  to  the  child's  doorstep,  as 
nearly  as  that  is  humanly  possible  to  do.  What  he  gets 
out  of  that  panorama  depends  upon  other  factors. 

Application  to  Geography 

The  importance  of  bringing  the  world  of  fact,  as  far  as 
practicable,  within  the  range  of  the  child's  vision  rests 
upon  the  child's  inevitable  paucity  of  sense  experiences. 
Even  those  children  most  favorably  situated  in  life  will 
possess  meagre  experiential  background  for  the  apprasial 


SPEED!   SPEED!  SPEED! 

The  Bausch  &  Lomb  Ultra 
Rapid  Anastigmat  is  an 
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speed  at  which  it  actually 
performs. 

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Eighteen 


AMERICAN     CINEMATOGRAPHER 


September,  1924 


BASS 


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of  each  new  item  of  observation,  as  compared  with  the 
average  adult.  This  lack  is  much  greater  with  the  great 
mass  of  children,  a  very  small  percentage  of  whom  have 
ever  travelled  at  all,  or  in  any  way  transgressed  the  bounds 
of  their  own  immediate  environment.  In  fact,  this  is  a 
lack  so  great  that  I  think  we  educators  realize  its  extent 
or  the  vital  necessity  of  counterbalancing  it. 

We  shall  understand  this  problem  better  if  we  select 
some  concrete  subject  of  study,  such  as  geography,  as  an 
example.  Geography  is  regarded  in  some  systems  of 
education  as  the  very  core  of  instruction.  In  any  concep- 
tion of  education  the  study  of  geography  is  an  important 
and  essential  phase  of  the  process  of  instruction.  Socially, 
spiritually  and  intellectually  man  is  heir  to  all  the  ages. 
In  extracting  the  values  from  past  centuries,  history,  of 
course,  plays  the  principal  role,  but  to  attempt  the  study 
of  history  without  a  fundamental  knowledge  of  geography 
is  like  sailing  a  ship  on  an  uncharted  ocean.  Physically 
and  in  the  most  of  his  practical  relations  civilized  man  is 
as  dependent  as  his  primitive  prototype  upon  his  actual 
present  environment.  Individually  and  collectively  his 
efforts  are  still  bent  chiefly  upon  supplying  the  three  great 
primal  needs  of  food,  clothing  and  shelter,  the  satisfaction 
of  which  must  be  extracted  from  his  environment.  The 
chief  difference  between  primitive  and  civilized  man  is 
that  the  latter  has  learned  to  extend  his  environment  to 
the  limits  of  the  known  world.  In  this  process  geography 
has  been  his  chief  concern, — a  knowledge  of  the  sources 
of  supply  for  the  meeting  of  these  three  great  needs.  In 
this  sense  geography  has  created  history,  dominates  the 
life  of  the  present  and  determines  the  conditions  of  the 
future.  For  it  is  primarily  in  the  pursuit  of  this  one  primal 
task  of  ever  growing  complexity  that  man  has  undertakken 
explorations,  established  colonies,  founded  industries,  or- 
dained institutions,  organized  governments  and  enacted 
laws.  Now  let  us  consider  for  a  moment  the  actual  sit- 
uation of  two  groups  of  children  studying  geography.  Let 
us  place  one  of  them  in  New  York,  or  some  other  coast- 
wise city,  and  the  other  in  some  inland  rural  village.  I 
think  it  will  occur  at  once  to  all  of  you  that  the  latter 
group  will  lack  a  great  many  sense  experiences  that  are 
commonplaces  with  most  of  us.  How  many  of  them,  do 
you  think,  will  ever  have  beheld  a  crowded  city  thorough- 
fare, a  great  mercantile  establishment  where  the  wealth 
of  a  kingdom  changes  hands  every  day  over  the  counter, 
a  vast  industrial  plant  with  its  manifold  operations  and 
its  army  of  employees,  so  characteristic  of  our  modern 
economic  development,  or  a  busy  harbor  with  its  forest 
of  masts  and  funnels  and  its  ocean  greyhounds  straining 
at  the  leash  to  whisk  their  20th  century  argonauts  across 
the  seas  in  quest  of  richer  argosies  than  old  Homer  ever 
dreamed  of. 

But  this  poverty  of  sense  experience  will  be  found 
scarcely  more  acute  in  the  rural  group  than  in  the  urban. 
Any  careful  and  observant  city  teacher  can  cite  you  num- 
berless examples  of  city  children  with  no  conception  of 
the  conditions  of  life  outside  the  block  in  which  they  live. 
Hundreds  and  thousands  of  these  urban  little  ones  have 
never  seen  the  shining  plow  lay  bare  the  steaming  fur- 
row, have  never  seen  the  cattle  grazing  on  a  thousand 
hills,  have  never  seen  a  field  of  waving  grain,  have  never 
seen  the  foaming  cataract  leaping  in  dizzy  whiteness  from 
towering  precipice  to  fertile  valley  or  the  laxy  river  gnaw- 
ing its  way  through  the  plain  and  by  the  process  of  erosion 
and  deposit  building  up  the  very  soil  on  which  and  from 
which  we  live,  have  never  seen  that  annual  miracle  of 


September,  1924 


AMERICAN     CI  N  EM  ATOGRAPHER 


Nineteen 


nature,  the  apple  tree  bursting  into  fragrant  blossom  with 
each  recurring  spring,  or  watched  how  the  sun  practices 
his  slow  and  patient  alchemy  upon  the  blossoms  from  the 
time  the  petals  drop  until  the  golden  fruit  hangs  lusciously 
ready  to  drop  into  the  basket.  In  short,  countless  num- 
bers of  these  urban  children  have  absolutely  no  notion  of 
a  thousand  and  one  facts  and  processes  upon  which  their 
very  existence  depends. 

Now,  without  discounting  or  discarding  every  other 
available  aid  to  visualization,  if  there  is  any  one  instru- 
mentality that  can  so  completely  supply  for  these  two 
groups  the  lack  of  immediate  contact  with  essential  facts 
and  factors  in  the  study  of  geography,  as  can  the  motion 
picture,  I  do  not  know  what  it  is. 

Limitations  and  Precautions 

A  little  reflection  will  show  you,  also,  that  there  are 
many  other  subjects,  in  some  phase  of  which  the  motion 
picture  may  be  made  to  render  invaluable  aid  in  assisting 
the  pupil  to  a  correct  and  complete  visualization  of  that 
about  which  he  is  studying.  We  have  found  it  of  im- 
mense help  in  biology,  not  only  in  the  portrayal  of  un- 
familiar life  forms  but  in  the  depiction  and  analysis  of 
life  processes.  The  same  thing  applies  to  nature  study, 
for  younger  children.  In  chemistry  it  may  be  made  to 
replace,  to  perpetuate  or  to  supplement  the  laboratory  ex- 
periment in  many  cases,  while  in  applied  physics  there  is 
nothing  so  effective  for  the  analysis  of  mechanical  pro- 
cesses as  a  skilfull  combination  of  direct  photography  and 
animated  diagram.  In  history  and  in  literature,  it  plays 
the  double  role  of  re-enacting  actual  episodes  and  of  paint- 
ing an  unfamiliar  background.  A  child  who  has  never 
seen  Julius  Caesar  screened  will  at  least  know  the  dif- 
ference between  a  toga  and  an  overcoat,  possibly  nothing 
the  advantages  and  the  disadvantages  of  each ;  while  a 
boy  who  has  seen  Doug'  Fairbanks  in  "Robin  Hood"  has 
not  only  had  a  corking  good  time,  but  is  really  better  pre- 
pared to  understand  and  appreciate  Scott's  "Ivanhoe"  or 
the  mediaeval  history  that  he  gets  in  high  school. 

This  is  only  a  partial  list,  sufficient  to  show  that  there 
are  few  subjects  which  may  not  be  illuminated  by  the 
screen.  On  the  other  hand,  we  must  not  fall  into  a  not 
uncommon  error  of  feeling  that  it  can  teach  everything, 
or  that  it  is  a  royal  road  to  learning.  First  of  all,  neither 
the  teacher  nor  the  text-book  can  ever  be  replaced  by  the 
screen.  It  must  always  remain  an  aid  to  the  one  and  a 
supplement  to  the  other.  Secondly,  there  are  many  phases 
of  subjects  which  can  be  better  illustrated  through  other 
media.  The  motion  picture  is  essentially  an  expensive 
article.  This  is  as  true  of  the  educational  film  as  of  the 
theatrical  film,  even  though  not  in  the  same  degree.  The 
making  of  a  good  educational  film  involves  the  expendi- 
ture of  a  great  deal  of  time,  energy  and  money.  It  is 
wasteful  to  demand  them  or  seek  to  apply  them  where 
simple  devices  are  equally  effective.  Take  a  few  simple 
examples.  If  I  wished  to  show  my  class  Niagara  Falls  or 
the  great  geysers  of  Yellowstone  Park,  I  should  select  a 
good  motion  picture.  If  on  the  other  hand  I  wanted  to 
show  them  the  capitol  at  Washington  or  take  them  on  a 
visit  to  Westminster  Abbey,  I  should  greatly  prefer  a 
series  of  well  made  slides.  If  I  wanted  to  show  a  boy  the 
working  of  a  linotype  machine  and  could  not  take  his  to 
a  printing  establishment,  I  should  have  recourse  to  a 
motion  picture,  if  one  could  be  procured.  But  if  I  wanted 
to  show  him  the  invention  and  evolution  of  printing  as 
an  art,  a  few  well  chosen  slides  or  charts  would  be  equally 
effective. 


There  are  a  great  many  other  problems,  involving  a 
great  many  other  precautions  which  concern  chiefly  the 
professional  educator.  Indeed  there  are  many  pedagogical 
problems  connected  with  the  use  of  this  latest  teaching 
device  about  which  none  of  us  are  any  too  clear  as  yet. 
We  are  not  agreed  as  to  whether  the  film  should  precede 
the  recitation  or  culminate  it.  We  are  not  certain  whether 
it  should  be  presented  in  silence  or  accompanied  by  ex- 
planation and  discussion.  We  are  not  agreed  as  to  whether 
it  should  be  shown  in  sections  or  all  at  once.  We  are 
not  sure  whether  its  effectiveness  is  dependent  upon  the 
psychological  age  of  the  child  or  not. 

One  thing  is  very  clear  and  that  is  that  merely  throw- 
ing motion  pictures  at  the  children  is  not  using  them  as 
an  educational  instrument.  Like  any  other  teaching  de- 
vice, they  must  be  fitted  into  the  educational  process  at 
precisely  that  point  and  in  precisely  that  way  which  is 
calculated  to  render  them  most  effective  as  an  aid  to 
visualization.  But,  as  I  have  said,  this  boy  would  hardly 
wish  to  concern  itself  with  these  particular  problems. 
Practical  Problems 

There  are  certain  practical  problems,  however,  in  the 
solution  of  which  the  motion  picture  engineer  may  be  of 
direct  assistance  to  the  educator.  These  turn  chiefly  up- 
on the  question  of  cost.  The  greatest  deterrent  factor  in 
the  educational  use  of  motion  pictures,  to  date,  is  their  al- 
most prohibitive  cost.  This  is  chiefly  due  to  cost  of  pro- 
jection. The  techinque  of  producing  pictures  has  ad- 
vanced to  a  point  approaching  perfection,  and  that  per- 
fected teachinque  will  gradually  address  itself  to  the  pro- 
duction of  educational  films,  as  rapidly  as  the  market  for 
them  can  be  created.  As  that  market  broadens,  the  average 
cost  of  the  pictures  themselves  will  be  diminished.  Thus, 
while  there  is  great  difficulty  in  finding  good  pedagogic 
films  at  present  and  while  those  we  do  find  cost  too  much, 
that  difficulty  is  an  inherent  one.  The  cost  of  projection 
on  the  other  hand  can  be  reduced  only  by  the  perfection 
of  cheap  projectional  devices,  and  that  is  where  you  can 
help  us.  Our  projection  problem  is  not  that  of  the  theatre. 
The  technique  is  not  the  same.  We  do  not  require  high 
power  machines,  with  skilled  operators  and  with  artistical- 
ly worked  out  lighting  effects.  What  we  need  is  a  simple, 
portable  projector,  on  which  a  straightforward  bit  of 
filming  can  be  shown  to  a  few  score  or  a  few  hundred 
youngsters  in  a  room  that  is  not  too  dark.  Every  new 
lamp,  every  new  lens,  every  new  screen  that  is  invented 
helps  in  that  direction.  The  strides  that  have  been  made 
in  the  last  few  years  have  been  remarkable.  It  is  to  the 
members  of  a  body  such  as  this  that  we  must  look  for 
still  more  startling  strides  in  the  future.  Indeed,  with  a 
little  more  attention  to  the  scientific  production  of  edu- 
cational pictures  and  to  the  administrative  problem  of 
their  effective  distribution,  we  should  be  in  a  position 
right  now  to  put  the  pedagogical  film  on  a  sound  eco- 
nomis  basis,  were  there  not  another  deterrent  factor  which 
also  turns  upon  cost.  That  factor  is  restrictive  legislation. 
Needed   Legislation 

We  are  not  permitted  in  most  jurisdictions  to  use  the 
simple  equipment  to  which  I  have  just  referred.  We  are 
compelled  to  resort  to  a  standard  machine,  with  booth 
and  operator  or  go  without  pictures.  The  concededly 
dangerous  character  of  nitrate  of  cellulose  film  and  the 
very  slow  development  of  the  acetate  of  cellulose  film, 
not  yet  quite  the  equal  of  the  other  in  certain  essential 
qualities,  have  resulted  in  placing  and  keeping  on  the 
(Continued  on  page  20) 


Twenty 


AMERICAN     CINEMATOGRAPHER 


September,  1924 


(Continued  from  page  19) 

statute  books  of  most  states  the  sort  of  restrictive  regu- 
lation with  which  you  are  all  familiar.  This  is  a  con- 
dition which  can  no  longer  be  tolerated.  Acetate  of  cel- 
lulose stock  is  now  available  in  quantities  as  needed,  and 
at  a  very  trifling  differential  in  cost,  as  compared  with  the 
nitrate  stock.  Big  school  systems,  great  welfare  bodies  and 
giant  industries  should  no  longer  be  treated  as  children 
and  told  they  may  not  use  this  perfectly  safe  article,  un- 
less it  is  of  an  irregular  width  and  perforation,  for  fear 
some  irresponsible  person  will  take  chances  and  burn  up 
things.  The  time  has  come  to  remove  all  restrictions  from 
the  use  of  the  safe  article,  and  to  place  all  the  restrictions 
and  all  the  danger  signals  on  the  explosive  article.  This 
would  have  been  the  more  logical  procedure  at  the  outest, 
though  perhaps  it  would  not  have  been  entirely  possible 
in  the  then  state  of  the  industry  or  of  the  public  mind. 
An  amendment  to  the  New  York  State  law,  eliminating 
the  narrow  gauge  restriction,  was  passed  sometime  ago, 
as  a  result  of  a  bill  introduced  at  the  request  of  the  Visual 
Instruction  Association  of  America.  This  measure  is  not 
exactly  ideal  but  it  is  an  entering  wedge.  Also  its  in- 
troduction and  our  campaign  for  its  enactment  led  to  a 
series  of  conferences  which  have  grown  into  a  concerted 


movement.  These  conferences  involved  representatives  of 
the  Eastman  Kodak  Company,  of  the  Motion  Picture 
Producers  and  Distributors  of  America,  Inc.,  and  of 
other  independent  producers,  as  well  as  of  various  pro- 
jector concerns.  They  also  involved  representatives  of 
various  fire  protective  agencies,  such  as  the  National 
Board  of  Fire  Underwriters,  the  New  York  Board  of 
Fire  Underwriters  and  the  National  Fire  Protective  As- 
sociation. Finally  they  involved  representatives  of  our 
great  school  systems,  and  of  the  great  welfare  organi- 
zations, such  as  the  Young  Men's  Christian  Association, 
the  Knights  of  Columbus,  the  Masons,  and  others  having 
extensive  educational  programs,  in  which  the  free  use  of 
films  is  a  desideratum. 

The  program  is  a  very  simple  one.  It  consists  essen- 
tially in  treating  inflammable  film  (and  the  inflammable 
sort  only)  very  much  as  other  explosives,  or  as  dangerous 
drugs  are  now  treated.  That  is,  not  only  must  the  maker 
or  dealer  be  licensed  and  keep  open  books,  but. every  user 
must  be  licensed  (at  a  nominal  fee,  of  course)  and  must 
furnish  his  license  number  before  he  can  procure  a  foot 
of  film  from  any  exchange.  We  feel  that  this  places  the 
burden  where  it  belongs  and  that  it  is  both  practicable 
and  effective. 


shot  was  made  by  cutting  low  over 
the  heads  of  the  slaves  and  by  the 
diffusion  of  the  background.  A  typ- 
ical West  Indian  scene  grew  out  of 
the  California  landscape  because  of 
the  ability  of  the  camera  crew. 
Two-fisted  Action 
"Captain  Blood"  gave  little  lati- 
tude for  the  testing  of  the  artistic  abil- 
ity of  the  cameramen.  There  was 
too  much  slam-bang  fighting  action 
which  called  for  technical  ingenuity 
on  the  spur  of  the  moment  rather  than 
long  thought  given  to  fixing  the 
beauty  first  in  the  mind.  Perhaps 
the  most  beautiful  of  all  the  exterior 
shots  was  the  easiest  and  most  inex- 
pensive. It  did,  however,  demand 
thought. 

"Something  Out  of  Nothing" 
The  love  interest  during  the  story 
had  been  handled  throughout  by  the 
subtle  touch  of  inference  until  it  be- 
came such  an  important  factor  to 
move  action  that  it  must  be  brought 
to  physical  life.  At  that  time,  even, 
its  touch  was  light  and  the  camera 
was  the  vital  thing  to  give  it  life  yet 
hold  it  in  repression.  This  scene  was 
solely  for  the  cameraman.  An  old 
pepper  tree  fortunately  placed  a  few 
yards  from  the  front  of  the  exterior  of 
the  stage  was  the  beginning.  Added 
to  that  a  few  pots  of  ferns,  a  hole 
through  the  hanging  bough  of  the  tree 
a  touch  of  paint  on  the  stage,  and  the 
scene  was  ready  for  the  lighting. 
Manipulating  Reflectors 
Large  tin  reflectors,  some  of  them 


PICTORIAL  SIDE  OF 
"CAPTAIN  BLOOD" 

(Continued  from  page  7) 

as  large  as  25  feet  square,  and  a  host 
of  silver  leaf  mirrors  were  thrown 
in  position  to  counteract  the  strong 
overhead  sun  light  and  bring  the  ef- 
forts of  the  players  into  artistic  play 
were  used.  The  cost  element  here 
was  almost  nil  as  the  reflectors  were 
better  than  the  employment  of  ex- 
pensive sun  arcs.  The  resorting  to 
of  the  chiffon  screen  was  made  use 
of  again  until  the  most  beautiful  tropi- 
cal garden  was  set  with  enough  sun 
on  the  actors  to  give  them  photo- 
graphic   value. 

Well  photographed 'sea  stuff  has  a 
value  to  a  picture  beyond  compare 
and  at  times  is  the  hardest  to  get. 
"Captain  Blood"  is  a  story  of  the  sea 
buccaneer  and  was  not  easy  to  take. 
The  open  sea  has  no  place  to  fix  a 
stationary  camera  point  and  no  bot- 
tom near  enough  to  use  the  parallels. 
At  times  it  was  necessary  to  build 
camera  nests  projecting  20  or  30  feet 
from  the  side  of  the  boat  and  to  tie 
the  machine  and  operator  securely. 
With  the  roll  of  the  vessel  it  was  a 
dip  into  the  waist  deep  water  and 
then  a  high  and  dry  fling  into  the  air, 
the  men  at  the  cranks  panning  to 
keep  the  small  boats  alongside  into 
the  shot  until  the  bearings  were  hot. 
Sticking  out  from  the  side  of  a  ship 
under  full  sail  and  geting  pictures 
has   its   interest. 


No  Chance  for  Re-takes 
The  crowning  point  in  the  develop- 
ment of  the  story  was  reached  in  the 
filming  of  a  gigantic  sea  battle  where 
Captain  Blood  loses  his  famous  Ara- 
bella in  action.  There  is  plenty  of 
action  in  this  sequence  as  one  other 
large  boat  goes  down  at  the  same 
time.  It  was  a  shot  that  caught  at  the 
throat  of  even  the  oldest  cameraman. 
If  he  did  not  get  the  stuff  it  was  lost. 
There  could  be  no  retake  the  next 
day  on  any  of  it.  When  the  169-foot 
boat  went  to  the  bottom  that  was  the 
end.  No  one  failed.  But  with  the 
terrific  explosiion  that  ended  the  life 
of  that  stately  old  timer  of  the  sea 
came  a  rain  of  wood  and  bits  of  iron 
that  made  the  most  hardened  of  the 
crew  seek  shelter  under  the  tripods 
and  crank  with  an  off-set  elbow  move- 
ment. A  slip  here  would  have  been 
all  too  costly,  or  the  failure  to  oper- 
ate properly  would  have  resulted  in 
ruin. 

"Captain  Blood,"  as  said  earlier, 
did  not  present  any  exceptional  op- 
portunities to  photograph  the  extrem- 
ely beautful  but  it  did  give  occasion 
for  the  calling  upon  of  all  the  ex- 
perience and  ingenuity  possessed  by 
the  entire  crew.  That  a  splendid  pic- 
ture has  resulted,  at  least  photograph- 
ically, will  be  seen  by  the  exhibited 
production,  and  does  not  call  for 
comment  at  this  time.  It  is  felt 
sure,  though,  that  artistry  was  con- 
sidered and  fidelity  upheld  and  prob- 
lems met  and  conquered  that  meant 
well  for  the  producer. 


September,  1924 


AMERICAN     CINEMATOGRAPHER 


Twenty-one 


Testing  Motion  Picture  Machines  for  Naval  Use 

From    Transactions,    Society  By  Lieutenant  Commander      How   Uncle    Sam    Gives   Gobs 
of  Motion  Picture  Engineers     C.  S.  Gillette,  U.  S.  N.         Entertainment  on  Land  and  Sea 


Cam  Action  Degress 

Fig  1 

Film    Velocity    Characteristics 

Produced  By 

Modification  of  the  90°  Cam  Action 


The  use  of  motion  picture  machines  on  board  vessels 
and  at  stations  of  the  Navy  has  been  permitted  for  several 
years,  but  only  comparatively  recently  has  it  been  de- 
cided to  furnish  these  machines  as  part  of  the  regular 
standard  Navy  equipment.  More  specifically  these  ma- 
chines were  previously  supplied  through  contributions 
from  the  individuals  of  a  ship's  crew  or  in  some  other 
manner  from  their  own  funds.  Thus,  whichever  machine 
had  the  services  of  the  most  persuasive  salesmen  or  by 
some  other  way  most  appealed  to  the  fancy  of  the  indi- 
vidual making  the  purchase,  that  machine  was  the  one 
which  any  particular  unit  of  the  Navy  used. 

From  Government  Funds 
The  increasing  importance  of  motion  pictures  from  an 
educational  standpoint,  as  well  as  for  the  general  im- 
provement of  morale,  so  essential  to  the  efficiency  of  such 
an  organization,  has  rendered  it  desirable  to  supply  the 
necessary  equipment  hereafter  from  Government  funds. 
An  investigation  and  test  of  the  material  available  com- 
mercially was  thus  necessitated  with  a  view  to  the  prep- 
aration of  standard  specifications,  having  due  regard  to 
the  peculiar  nature  of  the  service  demanded  by  the  Navy, 
in  order  that  purchase  in  accordance  with  Government 
procedure  could  be  made.  The  Laboratory  of  the  New 
York  Navy  Yard  was  designated  to  make  these  tests  and 
manufacturers  of  machines  have  co-operated  in  the  most 
generous  manner  to  aid  the  Government  in  meeting  its 
requirements.    . 


Sea  Standards 

It  would  appear  at  first  thought  that  the  conditions 
for  satisfactory  motion  picture  projection  on  a  sea  going 
vessel  are  not  far  different  than  the  conditions  met  with 
in  land  practice.  This  to  a  great  extent  is  true.  Further,, 
a  fair  percentage  of  the  motion  picture  demand  in  the 
Navy  is  for  shore  stations,  and  these  certainly  require  no 
special  consideration,  except  that  two  separate  standards 
would  not  be  an  economical  practice.  Hence,  shore  station- 
machines  should  be  the  same  as  those  used  at  sea.  Stan- 
dards must  be  set,  therefore,  by  the  needs  of  sea  service 
only. 

Careful  consideration  of  this  problem  brought  out  some 
very  important  differences  in  the  condition  to  be  met  with) 
at  sea  in  the  Navy,  as  opposed  to  ordinary  land  practice. 
Panned  By   Tars 

The  audience  on  board  a  Naval  vessel  is  either  quite 
large  or  small,  dependent  on  the  size  of  the  vessel  and  the 
nature  of  its  duty.  On  battleships,  and  of  course,  shore 
stations,  we  may  expect  anything  up  to  one  thousand  men 
or  more.  It  is  in  a  sense  an  assured  audience  and  often 
more  or  less  compulsory — that  is,  it  is  compelled  to  at- 
tend the  show  by  total  lack  of  anything  better  to  do.  The 
choice  of  the  manner  in  which  one  spends  the  evening  is 
not  very  wide  on  the  southern  drill  grounds.  Hence,  we 
do  not  have  to  meet  competition  in  amusements  nor  cater 
to  the  whims  of  a  critical  audience.  It  must  not  be  as- 
sumed, however,  that  our  audiences  are  not  critical.  None 
is  more  so  and  they  voice  their  criticisms  in  no  uncertain 


Tuventy-tivo 


AMERICAN     CIN  EMATOGRAPHER 


September,  1924 


manner,  but  we  do  not  have  to  worry  about  loss  of  pat- 
ronage. 

Film  supplied  for  the  use  of  the  Navy  is,  from  a  prac- 
tical standpoint,  purchased  outright,  as  it  is  leased  for  a 
term  of  years  and  long  film  life  becomes  at  once  a  primary 
essential  of  operation.  The  films  are  made  up  in  pro- 
grams consisting  generally  of  one  main  feature  of  five  or 
six  reels,  two  or  three  reels  of  comedy,  and  a  news  reel. 
As  a  rule  about  8000  feet  of  film  are  used  at  each  per- 
formance. 

Sixteen  Million  Feet 
There  are  in  constant  circulation  throughout  the  Navy 
at  the  present  time  about  2000  complete  programs  as 
above,  or  about  16,000,000  feet  of  film.  About  eighty 
vessels  and  sixty  shore  stations  are  served,  scattered  pretty 
much  all  over  the  world.  The  programs  are  made  up 
and  sent  out  from  a  central  exchange  and  these  are  passed 
from  ship  to  ship  or  station  until  eventually  each  comes 
back  to  the  central  exchange.  While  circulating,  minor 
repairs  are  made  and  if  any  portion  is  damaged  to  such  an 
extent  that  it  cannot  be  used  for  projection  purposes,  the 
entire  program  is  returned  to  the  exchange  for  extensive 
renewals  or  repairs  and  again  returned  to  circulation. 
Every  effort  is  made  to  keep  a  program  intact  until  it 
has  completed  the  entire  circuit. 

Naval  Exchanges 
The  Central  Exchange  is  located  at  the  Navy  Yard, 
New  York,  and  twelve  sub-exchanges  assist  the  distri- 
bution in  the  United  States,  the  Philippines,  Hawaii,  the 
Canal  Zone  and  on  board  certain  of  the  repair  ships.  The 
Central  Exchange  is  equipped  to  inspect,  repair,  clean  and 
process  film  and  provides  training  for  operators  and  cen- 
sorship for  the  outgoing  programs.  The  service  is  com- 
pleted in  all  details  and  it  is  believed  will  compare  most 
favorably  with  any  commercial  system  when  consideration 
is  given  to  the  fact  that  it  supplies  and  maintains  service 
all  over  the  world. 

Portable  Equipment 
On  board  a  vessel  of  the  Navy  all  the  equipment  for 
projection  must,  of  necessity,  be  easily  portable.  Each 
performance  requires  a  complete  set  up  of  machine,  screen 
and  seating  arrangement  either  above  or  below  decks  as 
the  weather  conditions  may  permit.  Usually  performances 
are  given  in  the  open  air  on  deck,  whenever  at  all  possible, 
as  more  seating  capacity  is  there  available.  The  audience 
views  the  performance  from  the  front  of  the  screen  where 
possible,  but  often  on  deck  a  fair  percentage  enjoy  the 
reverse  side  of  the  screen  at  no  great  disadvantage  except 
some  trouble  in  deciphering  the  titles.  At  present  canvas 
screens  used  and  each  ship  prepares  or  selects  its  own. 
Standardization  is  in  prospect  for  this  equipment  also. 

The  machines  are  operated  exposed  on  deck,  and  must 
be  taken  down  and  stowed  away  after  each  performance. 
Space  is  limited  on  board  ship  and  easy  stowage,  in  the 
smallest  possible  space,  fully  protected  against  the  elements 
and  the  motion  of  a  vessel  at  sea  is  essential.  Taking 
machines  below  deck  means  passing  them  through  one  or 
more  small  hatches,  down  ladders  and  through  narrow 
passageways,  with  attendant  possibility  of  damage. 

Sea  air  is  highly  corrosive  and  attacks  readily  exposed 
surfaces  of  materials  susceptible  to  its  action,  no  matter 
how  carefully  used  and  stored.  Hence  non-corrodible 
materials  must  of  necessity  be  used  for  important  parts 
wherever  at  all  possible  and  when  not  possible  special 
means  must  be  taken  to  cover  same  with  intimate  pro- 


tective coatings,  such  as  galvanizing,  sherardizing,  etc. 
Even  all  of  the  relatively  unimportant  parts  should  be 
satisfactorily  protected.  Sheet  metal  in  particular  should 
be  of  non-corrodible  material.  Cast  metals  are  not  so 
readily  attacked  by  sea  air  but  should  be  given  suitable 
protective  coatings  in  any  case. 

Galvanizing 
The  ordinary  film  reels,  for  example,  are  quickly  at- 
tacked and  ruined.  For  this  reason  galvanized  wire  reels 
are  being  tried  out  and  something  along  this  line  will  un- 
doubtedly become  standard.  The  corroded  reels  have 
caused  in  the  past  considerable  damage  to  film,  and  have 
been  the  direct  cause  of  much  unnecessary  film  expense. 

Where  Dust  Comes  From 
The  general  mechanical  features  of  the  machines  needed 
do  not  require  any  special  consideration  except  that  they 
should  be  reasonably  fool  proof  and  that  all  gears  and 
operating  parts  should  be  enclosed  and  made  as  nearly  dirt 
and  dust  proof  as  possible.  It  is  not  claimed  that  the  sea 
is  particularly  dusty,  but  on  board  any  ship,  more  par- 
ticularly the  coal  burner,  the  soot  and  cinders  from  the 
stacks  often  under  forced  draft,  are  extremely  trouble- 
some on  gears,  bearings  and  moving  parts.  Exposed 
operation  on  deck  increases  the  probability  of  trouble  if 
the  design  does  not  take  account  of  this  feature. 

Electrically,  commercial  designs  seem  satisfactory  in 
most  respects.  Variable  motor  speed  does  not  seem  es- 
sential for  our  purpose,  as  it  allows  too  much  leeway  for 
an  operator  to  ruin  film  by  needless  speed  of  projection 
to  get  through  a  performance  quickly.  We  do  not  run  two 
shows  an  evening  and  time  does  not  mean  money,  but  to 
shorten  it  means  film  expense. 

No   Ready  Service 

Miscellaneous  requirements  which  have  been  considered 
are  suitable  means  for  ready  disassembly  and  stowage  of 
parts  as  previously  mentioned ;  adoption  of  a  standard 
film  length  per  reel,  viz.,  1000  feet,  and,  most  important 
of  all,  ready  interchangeability  of  parts  between  machines 
of  the  same  type  and  manufacture.  This  last  point  is 
especially  important,  due  to  the  distribution  of  the  ma- 
chine over  the  world  and  the  necessity  for  quick  repair 
with  the  limited  facilities  and  by  the  personnel  on  board 
ship.  On  a  vessel  of  the  Navy,  spare  parts  are  not  avail- 
able in  a  store  around  the  corner  nor  can  the  services  of 
an  expert  be  obtained  with  no  greater  effort  than  a  tele- 
phone call. 

Manufacturers  of  any  Marine  equipment  should  be  at 
some  pains  to  render  identification  and  ordering  of  spare 
parts  for  their  product  as  easy  a  matter  as  possible,  so  that 
orders  from  distant  parts  of  the  world  can  be  readily  in- 
terpreted and  parts  furnished  without  possibility  of  error. 

How  It  Works 
It  might  be  added  that  motion  picture  machines  in  the 
Navy  are  not  directly  essential  to  the  operation  of  a  ves- 
sel nor  to  its  fighting  efficiency.  We  do  not  need  100% 
efficiency  in  spite  of  high  cost  for  this  class  of  equipment, 
as  often  is  the  case  for  certain  other  classes.  We  need  the 
maximum  amount  of  amusement  at  the  minimum  first 
cost  and  maintenance  expense  just  as  commercial  practice 
demands,  and  the  factor  of  safety  in  insuring  this  relation- 
ship we  can  afford  to  let  rest  at  unity.  We  do  not  take 
this  chance  with  fighting  equipment.  There  the  factor  of 
reliability  must  be  high.  It  does  not  pay  to  follow  a 
dollar  pinching  policy  where  a  dollar  saved  may  mean  the 


September,  1924 


AMERICAN     CINEMATOGRAPHER 


Twenty-three 


failure  of  vital  apparatus  at  a  critical  moment  of  battle. 
Failure  at  such  a  moment  may  mean  loss  of  a  battleship — 
loss  of  a  battleship,  the  loss  of  a  battle — and  a  loss  of  a 
battle,  the  loss  of  a  nation — and  the  loss  of  a  nation,  the 
loss  of  liberty  and  everything  else  that  makes  life  and 
civilization  worth  while. 

Naval  Needs 
To  return  to  motion  picture  machines,  we  may  sum  up 
the  special  desirable  features  of  a  machine  to  meet  con- 
ditions on  board  a  Naval  vessel  somewhat  as  follows: 

(a)  Designed  to  give  longest  film  life  possible. 

(b)  Arranged  for  easy  disassembly,  portability  and 
stowage. 

(c)  All  operating  parts  to  be  well  protected  and  of 
non-corrodible  material  or  suitably  protected  against 
corrosion. 

(d)  Ready  accessibility  for  repair  and  interchange- 
ability  of  spare  parts  to  be  assured. 

(e)  Large  enough  to  give  projection  suitable  for 
audiences  up  to  1000  persons,  (120  ft.  projection)  at  a 
standard  film  speed  of  90  feet  per  minute  and  to  handle 
reels  of  1000  feet  only. 

(f)  To  be  as  fool-proof  and  require  as  little  mainten- 
ance expense  as  possible. 

The  testing  of  commercial  machines  to  ascertain  how 
nearly  they  meet  our  needs  and  to  collect  data  for  suit- 
able specifications  has  been  carried  out  at  the  Navy  Yard, 
New  York,  over  a  period  of  about  one  year  and  is  still 
in  progress.  A  fully  equipped  photometric  section  was 
here  available  in  the  laboratory  which  was  deemed  the 
best  equipped  place  to  handle  this  problem. 

A  14  x  14  foot  standard  screen  of  plaster  finished  mat 
white  was  supplied  with  a  throw  of  100  feet.  Such  a 
screen  is  easily  maintained  at  its  maximum  efficiency  and 
while  not  ideal,  is  used  as  a  100%  screen.  By  compari- 
son other  screens  will  be  rated  against  this  one,  which  of 
course,  may  give  some  types  a  rating  of  over  100%. 

When  a  machine  comes  in  for  test,  it  is  fully  adjusted 
by  a  representative  of  the  manufacturers  on  the  test  floor 
and  as  soon  as  he  has  adjusted  it  to  his  full  satisfaction,  it 
it  taken  over  for  official  test  and  considered  100%  perfect 
for  that  particular  type. 

Steadiness 

Tests  for  steadiness  of  projection  are  made  first.  Such 
tests  are  made  rather  critical  by  taking  the  picture  jump 
at  the  full   100  foot  projection. 

The  picture  jump  seems  by  analysis  to  be  the  result  of 
two  contributing  factors;  one  due  to  machine  and  build- 
ing vibration  and  one  inherent  with  the  film  and  mechani- 
cal operation.  No  attempt  is  made  to  separate  that  due 
to  film  variation  and  the  operation  of  the  machine,  as 
the  first  is  compensated  for  by  using  the  same  film  on 
all  machines. 

Standard  film  for  this  purpose  has  been  adopted  and 
standardized,  and  consists  of  a  light  struck  and  developed 
negative  perforated  by  two  rows  of  1  m.m.  holes,  about 
eight  per  aperture.  Sprocket  perforations  are  standard  and 
made  prior  to  developing.  A  small  brass  plate  perforated 
in  the  same  way  as  the  film  is  first  projected  with  no 
mechanism  in  operation  and  the  jump  of  the  holes  taken 
as  that  due  to  conditions  external  to  the  machine.  Then 
the  mechanism  is  started  including  shutter  and  the  jump 
of  the  projected  holes  from  the  plate  again  measured.  The 
difference  between  the  two  gives  the  unsteadiness  pro- 
duced by  the  operation  of  the  mechanism  itself. 


Finally  the  test  film  is  threaded  through  and  the  jump 
of  the  projected  film  holes  taken  which  is  cumulative  from 
all  causes.  Data  are  thus  obtained  which  will  give  ap- 
parently all  necessary  information  about  the  action  of  the 
machine  while  handling  film.  A  quite  appreciable  picture 
jump  appears  inherent  in  all  makes  of  machines  and  direct 
comparison  is  possible  with  very  interesting  results. 

Wear 

Attempt  is  then  made  to  determine  characteristic  film 
wear  for  each  type.  This  determination  for  the  present 
is  limited  to  that  caused  by  the  feeding  sprockets  and  in- 
termittent only,  take  up  tension  not  having  been  considered 
to  date.  The  latter  is  manually  adjusted  and  wear  from 
this  cause  is  more  or  less  attributable  to  the  operator  and 
not  reasonably  chargeable  to  the  machine. 

An  endless  belt  of  film  is  used  of  sufficient  length  to 
just  thread  through  the  mechanism  and  around  the  out- 
side of  the  head  without  interference  when  operating.  The 
mechanism  circulates  the  belt  unilluminated  and  data  are 
taken  as  to  the  number  of  revolutions  of  the  belt  through 
the  machine  before  sufficient  damage  is  done  to  cause 
breakage  of  same.  Periodic  inspection  every  50  revo- 
lutions is  made  and  the  condition  of  the  belt  recorded. 
Belt  made  of  standard  commercial  feature  positive  film 
is  used  for  this  purpose,  thus  allowing  various  densities  of 
emulsion  and  determination  of  average  results.  Six  belts 
are  run  on  each  machine  initially,  and  experience  has 
shown  that  the  consistent  results  can  be  readily  obtained 
with  reasonable  care. 

So  consistent  have  been  the  results  obtained  that  some 
important  conclusions  seem  justified,  particularly  in  re- 
gard to  the  design  of  the  intermittent  movement.  Two 
or  more  heads  of  each  make  of  several  different  manu- 
facturers have  been  tested  and  the  results  on  any  given 
make  have  been  uniform  and  seem  to  establish  certain 
inherent  characteristics  of  the  type  in  regard  to  film  wear. 
Some  points  in  connection  with  this  will  be  discussed  later. 
200  Hours 

After  this  initial  performance  on  film,  the  machines  are 
set  up  complete  and  given  a  run  without  film  for  200 
hours  on  a  cycle  of  8  hour  continuous  operation,  followed 
by  a  16  hour  shut  down.  After  each  shut  down  the  ma- 
chines are  completely  oiled  and  again  at  the  start  of  an  8 
hour  run.  The  object  of  this  test  was  to  obtain  only  com- 
parative data,  to  bring  out  the  weakest  point  of  the  de- 
sign, and  to  determine  the  suitability  of  bearings,  gears, 
etc.  This  test  was  strenuously  objected  to  by  some  manu- 
facturers, as  demanding  of  the  machine  more  than  any 
probable  service  condition.  However,  while  no  laboratory 
test  can  be  expected  to  simulate  perfectly  service  con- 
ditions, such  a  test  does  give  in  a  reasonable  time,  a  very 
good  indication  of  probable  service  life,  under  ordinary 
operation  in  the  hands  of  the  "run  of  the  mine"  operator. 

The  Irony   of   It 

If  a  mechanism  under  service  conditions  received  all 
the  care  and  attention  its  designer  recommended,  operat- 
ing expenses  would  be  increased  a  few  hundred  per  cent, 
but  it  would  probably  have  a  long  and  useful  service  life. 
Unfortunately  for  the  proud  designer,  his  product  does 
not  always  lead  a  sheltered  existence  under  tender  care 
but  must  bear  up  under  the  hard  knocks  of  the  world  and 
the  neglect  of  a  hard-hearted  operator. 

At  the  end  of  this  200  hour  run,  picture  jump  and 
general  steadiness  is  again  taken.  The  differences  in  the 
operation   at  this   time   compared  with   the   prior  results 


Twenty-four 


AMERICAN     CINEMATOGRAPHER 


September,  1924 


are  considered  a  measure  of  the  wear  and  probable  service 
life. 

Inspected  and  Gauged 

After  this  second  set  of  data  has  been  obtained  the 
machine  is  thoroughly  inspected  and  gauged.  A  repre- 
sentative of  the  manufacturer  is  then  allowed  to  completely 
overhaul  and  adjust  the  machine,  renewing  and  parts  he 
deems  necessary.  This  is  done  under  the  supervision  of 
the  test  personnel  and  all  work  done,  replacements,  al- 
terations of  settings  found  necessary,  etc.,  are  recorded. 
When  pronounced  again  in  perfect  condition  by  the  ex- 
hibitor, the  picture  jump  and  film  wear  tests  with  the 
belts  is  again  taken  and  compared  with  the  previous  data. 

In  many  cases  it  has  been  found  that  the  readjusted 
machines  give  considerably  better  performance  than  they 
did  originally.  This  seems  to  indicate  that  better  and 
more  consistent  machines  could  be  placed  in  service 
generally  if  manufacturers  ran  in  their  machines  thorough- 
ly after  assembly  as  a  part  of  regular  factory  routine,  and 
made  sure  that  they  were  properly  adjusted  before  send- 
ing them  out.  This,  of  course,  applies  to  almost  any 
equipment  and  it  is  realized  adds  to  cost  of  production. 
However,  it  is  mentioned  here  for  the  benefit  of  those  in- 
terested both  from  a  manufacturer's  and  from  an 
operator's  standpoint  and  indicates  one  direction,  at  least, 
in  which  improvement  can  be  expected  in  present  ma- 
chines. It  is  probable  that  a  Navy  specification  will  call 
for  some  such  procedure   before  acceptance  on  delivery. 

Considering  that  repairs  in  the  field  are  always  so  dif- 
ficult and  unsatisfactory  and  interruptions  to  service  so 
expensive,  it  appears  that  commercial  users  would  find 
such  a  run-in  test  most  desirable  and  would  insist  upon 
something  of  this  nature  when  buying  equipment.  Our 
tests  have  satisfied  us  at  least  that  it  would  be  a  paying 
proposition  regardless  of  some  slight  addition  to  first  cost. 

Our  tests  have  led  us  to  investigate  rather  thoroughly 
the  design  of  the  intermittent  movement  and  its  relation 
to  film  wear.  Commercially  film  wear  perhaps  is  not 
such  a  vital  factor  in  a  machine.  The  Navy  purchases  its 
film  and  hence  its  interest  in"  this  important  character- 
istic. 

The  intermittent  movement  is,  of  course,  the  very  heart 
of  the  mechanism,  and  probably  the  most  important  single 
factor  controlling  film  wear  as  well. 

Curves  (Figure  1)  are  presented  herewith  showing  the 
characteristics  of  three  ordinary  Geneva  Star  and  Cam 
movements  of  slightly  different  design  for  purposes  of 
comparison,  and  also  the  curve  for  the  so  called  eccentric 
Geneva  Star  and  Cam  movement.  These  curves  have  been 
worked  out  mathematically  and  plotted  according  to  a 
formula  evolved  for  the  purpose.  The  derivation  will 
not  be  gone  into  here  but  can  be  furnished  for  anyone 
interested. 

The  life  of  the  film  with  each  of  the  three  designs  of 
ordinary  Geneva  Star  movements  here  shown  has  been 
carefully  taken  and  same  found  to  vary  consistently  with 
easy  modification. 

While  it  is  realized  that  the  faster  the  movement  the 
more  light  will  be  possible  at  the  screen  and  theoretically 
the  better  will  be  the  projection,  practically  no  great  dif- 
ference was  realized  with  the  three  designs  shown.  But 
the  film  wear  was  increased  whenever  the  design  departed 
from  the  full  90°  cam  action  with  the  star  and  pin  meshing 
on  the  tangent  to  the  driving  pin  circle  and  pin  leaving 
the  star  in  the  same  way. 

This  design  incorporates  a  mathematical    1   to   1   ratio 


between  the  diameter  of  the  star  over  the  points  and  the 
pin  circle  of  rotation.  These  dimensions  and  the  relative 
dimension  of  all  other  parts  of  this  movement  must  be 
made  with  the  greatest  accuracy  humanly  possible  to  pro- 
duce the  exact  tangential  meshing  necessary  for  satisfac- 
tory results.  And  this  form  is  apparently  the  ideal  ar- 
rangement for  starting  a  body  from  rest,  accelerating  it 
through  a  maximum  speed  point  and  again  bringing  it 
to  rest,  without  shock  or  sudden  strain  at  any  part  of  the 
operation. 

Changes   in    Velocity 

It  may  be  noted  from  the  curves  given  that  the  90° 
movement  starts  and  stops  with  smoothly  graded  accele- 
ration and  deceleration.  The  inertia  of  the  film  is  over- 
come smoothly  in  starting  and  in  stopping  with  this  move- 
ment. All  the  others  show  abrupt  changes  in  velocity  in 
either  starting,  stopping  or  both — in  other  words,  marked 
jerks  on  the  film  are  the  result  of  each  of  these  operations. 

Both  theoretical  and  practical  results  have  demonstrated 
to  our  satisfaction  the  speriority  of  the  90°  Geneva  Star 
and  Cam  in  prolonging  film  life  through  at  the  same  time 
producing  lower  screen  illumination.  With  it  the  shutter 
must  be  dark  at  least  180°,  and  in  ordinary  practice  is 
usually  somewhat  more.  The  light  efficiency  using  this 
type  seems  to  be  about  42%,  that  is  with  the  mechanism 
in  operation  the  illumination  on  the  screen  proves  to  be 
about  that  percentage  of  the  light  on  the  screen  with 
mechanism  stopped. 

Compromise 

Of  course,  the  greatest  screen  illumination  with  the 
least  power  consumption  is  always  desirable.  To  ac- 
complish increased  intensity  by  decreasing  the  angular 
mesh  of  the  star  and  pin  and  the  consequent  allowed  in- 
crease of  open  interval  on  the  shutter,  is  to  sacrifice  film 
life  to  increased  screen  illumination.  It  is  easily  seen 
that  a  compromise  is  necessary  based  on  whatever  may  be 
considered  the  paramount  demand  of  the  service  to  which 
applied. 

The  gain  in  screen  illumination  between  the  faster  in- 
termittent of  70°  show  on  the  given  set  of  curves  over  that 
of  the  90°,  has  been  proved  by  our  tests  to  be  about  7%. 
So  it  seems  that  a  very  considerable  increase  of  film  wear 
must  be  shouldered  to  gain  a  very  small  percentage  in 
light  at  the  screen. 

Perhaps  at  one  time  the  fast  intermittent  was  of  some 
value  in  producing  steady  pictures,  as  the  previous  pro- 
jection speeds,  we  understand,  seldom  exceeded  about  60 
ft.  per  minute.  Hence,  a  slow  type  of  intermitten  at  this 
projection  speed  might  have  produced  unsteadiness  to  a 
great  extent. 

At  90  to  100  feet  per  minute,  however,  following  the 
increased  photographic  rate,  the  1  to  1  intermittent  has 
proved  entirely  satisfactory,  in  so  far  as  our  tests  are  con- 
cerned, with  respect  to  film  steadiness  and  very  superior 
with  respect  to  film  wear  and  machine  wear  as  well. 

It  can  be  shown  that  the  angular  speed  of  the  star  at  any 
instant  is  equal  to  the  product  of  the  instantaneous  speed  of 
the  pin  by  the  sine  of  the  angle  subtended  between  the 
tangent  to  pin  circle  and  the  center  line  of  the  star 
slot  along  the  star  radius.  With  the  90°  movement  the 
speed  at  the  point  of  first  contact  is  zero.  In  the  case 
of  the  80°  movement,  for  example,  which  makes  contact 
5°  later,  an  abrupt  change  of  velocity  is  produced  instantly 
from  zero  to  the  5°  velocity  of  the  90°  movement,  thus 
giving  the  marked  jerk  mentioned.     A  similar  effect  oc- 


September,  1924 


AMERICAN     CINEMATOGRAPHER 


Twenty-five 


curs  at  the  stop.     Consideration  of  these  points  will  make 
the  curves  clear. 

A  further  interesting  result  in  the  use  of  the  90°  move- 
ment is  that  the  required  accuracy  in  adjustment  of  the 
tension  shoes  is  far  less  than  that  demanded  by  the  faster 
types.  With  the  former,  this  attachment  has  little  to  do 
beyond  holding  the  film  firmly  to  the  aperture  and  giving 
some  slight  braking  action  to  the  mass  of  the  film  already 
brought  to  a  stop  by  the  action  of  the  intermittent.  With 
the  faster  types,  the  setting  of  the  tension  shoes  seems  very 
critical,  as  they  are  called  upon  not  only  to  accomplish  the 
above  but  in  addition  must  stop  the  whole  moving  film 
instantly  as  the  faster  intermittent,  because  of  its  design, 
does  not  effectively  do  this.  The  film  is  not  brought 
gradually  to  a  full  stop  but  must  in  effect  stop  itself  when 
the  intermittent  disengages,  as  may  be  noted  from  the 
curves.  It  appears  also  that  unsteadiness  of  picture  is 
more  likely  to  result  from  the  fast  intermittent  than  the 
slow  one  if  an  operator  is  not  especially  careful  in  setting 
the  tension  shoes  to  prevent  the  film  over-riding  the 
aperture.  If  shoes  are  set  over  tight  then  film  wear  is  in- 
creased with  possible  tearing  of  film  and  interruption  to 
service. 

Adjustable    Tension 

We  have  been  informed  that  adjustable  tension  is 
necessary  to  compensate  when  using  old  or  new  film. 
With  the  slow  intermittent  our  results  have  indicated 
satisfactory  performance  on  all  film  tried  with  no  variation 
in  adjustment  at  all.  With  the  fast  types  this  was  not 
the  case  and  adjustment  for  new  and  old  film  was  neces- 
sary. Soft  new  film  having  a  higher  coefficient  of  friction, 
of  course  required  less  tension  on  the  shoes  to  accomplish 
their  function  as  explained.  Shoes  set  for  old  film  tore 
new  film,  and  those  set  for  new  film  allowed  picture  jump 
with  old.  It  seems  then  that  deficiencies  in  design  of  the 
intermittent  are  compensated  by  adding  an  adjustable  de- 
vice which  requires  very  critical  adjustment  by  the  operator 
for  each  kind  of  film  run  to  insure  entirely  satisfactory 
service. 

The  foregoing  are  some  of  the  reasons  why  we  feel  con- 
vinced that,  for  our  purposes,  only  the  90°  Geneva  Star 
and  Cam  will  meet  the  requirements.  This  intermittent 
which  has  been  previously  referred  to  as  the  1  to  1  based 
on  ratio  of  star  and  pin  circle  diameters  is  the  same  as  is 
sometimes  referred  to  as  the  1  to  3,  based  on  the  ratio  of 


Roy  Davidge  Film  Laboratories 

NEW    EQUIPMENT 

GREATLY  INCREASED   FACILITIES 

COMPLETE  COMMERCIAL  PROJECTION  ROOM 

6701  Santa  Monica  Boulevard 

(Opposite  Brulatour's) 
PHONE  GRanite  9503 

Personal  Attention  to  All  Work 


time  of  moving  to  the  stopped  periods  per  revolution.  It 
is  hoped  no  confusion  will  be  introduced  by  the  pharase- 
ology  used. 

Closely  connected  with  the  intermittent  problem  in 
the  quality  of  projection  and  film  life  appears  the  sprocket 
design.  This  seems  to  have  been  pretty  well  worked  out 
by  the  Eastman  Kodak  Company,  on  the  standard  film 
perforation,  considering  film  shrinkage,  etc. 

However,  our  tests  have  revealed  no  machine  submitted 
which  actually  followed  the  data  of  the  above  named 
company  in  their  sprocket  design. 

The  length  of  the  arcs  of  film  contact  on  the  various 
sprockets  does  not  seem,  in  general,  to  have  received  much 
consideration  and  certainly  no  standardization.  One 
make  only  appears  to  have  given  it  consideration  really 
worth  while. 

The  more  teeth  in  mesh  the  greater  will  be  the  effect 
of  the  film  change  through  shrinkage  and  unless  this  is 
compensated  serious  film  damage  seems  likely  to   result. 

It  is  hoped  that  the  general  question  of  intermittent  de- 
sign has  not  been  too  much  stressed.  It  is  not  meant  by 
this  to  convey  the  impression  that  many  other  things,  such 
as  framing,  shutter  design,  etc.  are  not  thought  to  be  of 
great  importance  in  efficient  projection.  It  is  only  that  the 
intermittent  is  believed  to  be  of  the  greatest  importance 
for  our  purposes. 

Commercially  perhaps  the  cost  of  film  is  not  greatly  con- 
sidered and  the  amount  of  film  damage  chargeable  to  a 
given  design  is  not  readily  apparent.  But  unless  film  pro- 
ducers are  running  for  charity,  the  operators  must  be 
paying  the  combined  cost  of  an  enormous  amount  of  use- 
lessly damaged  film  through  increased  film  rental  charges. 

The  automobile  engineer  did  not,  in  the  early  history 
of  the  industry,  consider  to  any  great  extent  tire  mileage 
nor  the  effect  of  his  design  to  increase  or  decrease  it.  To- 
day it  is  one  of  the  first  considerations  of  design  and  one 
of  the  first  questions  asked  by  a  prospective  purchaser. 

The  Navy  is  trying  to  standardize  many  of  the  machine 
accessories  for  its  use  at  the  same  time.  Projection  dis- 
tance will  be  standardized  for  the  different  types  of  ships 
and  the  size  of  the  screen,  and  the  lens  feature  and  gen- 
eral characteristics  will  also  be  made  standard. 

Condensers  seem  at  the  present  time  to  be  more  or 
less  in  the  development  stage.  Some  recent  very  radical 
changes  indicate  no  general  fixed  commercial  policy  con- 
cerning this  feature.  Machines  in  service  are  subjected  to 
most  severe  changes  in  temperature  and  it  is  to  be  hoped 
that  a  suitable  heat  resisting  glass  will  soon  be  available. 

The  greatest  advantage  to  be  gained  in  a  more  or  less 
complete  standardization  is  simplicity  in  the  stocking  and 
distribution  of  spare  parts  and  accessories  to  our  widely 
separated  projection  stations  about  the  seven  seas  and  to 
increase  the  efficiency  of  operators  and  repair  personnel 
through  restriction  in  the  number  of  types  used.  Finally 
it  is  hoped  that  economy  in  first  cost  and  maintenance  ex- 
pense of  machines  and  film  will  naturally  follow  stand- 
ardized practice. 


mwfi 

HE  MPSTD  8761 

■  international  kinema  research* 

L 

-ou  Howland                Hollywood    Security  Bldg. 

Ttventy-six 


AMERICAN  CI  N  EM  ATOGR  APHER 


September,  1924 


Rele 


ases 


July  20,   1924  to  August  17,   1924 


TITLE 


Behold  the  Woman 

Fighting  Fury 

Tess  of  the  D'Urbervilles 

The  Side  Show  of  Life 

The  Desert  Sheik 

Against  All  Odds 

Neglected  Women 

Big  Timber 

The  Red  Lily 

Single  Wives 

Manhandled 

The  Call  of  the  Mate 

That  French  Lady 

Western   Vengeance 

The  Man  Who  Fights  Alone 

Little  Robinson  Crusoe 

Racing  for  Life 

Hutch  of  the  U.S.A. 

Janice  Meredith 

Hit  and  Run 
Being  Respectable 
Broken  Barriers 
Love  and  Glory 
How  To  Educate  A  Wife 
Strangling  Threads 
Lend  Me  Your  Husband 
Monsieur  Beaucaire 
The  Last  of  the  Duanes 


PHOTOGRAPHED  BY 

Wm.  O'Connell  and  Ernest  Smith 

Harry   Neumann 

David   Kesson 

James  Howe 

Broun-Thomas 

Joseph  Brotherton,  member  A.S.C. 

Not  Credited 

Jackson  J.  Rose,  member  A.S.C. 

Victor  Milner,  member  A.S.C. 

James  Van  Trees,  member  A.S.C. 

Hal  Rosson 

Roland  Rice 

G.  O.  Post 

Walter  Griffin,  member  A.S.C. 

L.  Guy  Wilky,  member  A.S.C. 

Frank  B.  Good,  member  A.S.C. 

Not  Credited 

Ernest  Miller 

Ira  Morgan  and  George   Barnes,   members 
A.S.C. 

Virgil  Miller 

H.  Lyman  Broening,  member  A.S.C. 

Percy  Hilburn 

Gilbert  Warrenton,  member  A.S.C. 

Charles  Van  Enger,  member  A.S.C. 

Not  Credited 

Jack  Brown  and  Neil  Sullivan 

Harry  Fishbeck 

Dan  Clark,  member  A.S.C. 


HOW  TO  LOCATE  MEMBERS  OF  THE 

American 
Society  of  Cinematographers 

Phone  HOlly  44o4 


OFFICERS 


Gaetano  Gaudio 
Gilbert  Warrenton 
Karl  Brown 
Homer  A.  Scott 
Charles  J.  Van  Enger 
Victor  Milner 


President 

Vice-President 

Vice-President 

Vice-President 

Treasurer 

Secretary 


Victor  Milner 

Philip  H.  Whitman 
James  C.  Van  Trees 
Frank  B.  Good 
H.  Lyman  Broening 


BOARD  OF  GOVERNORS 

Homer  A.  Scott 
Fred  Jackman 
Charles  J.  Van  Enger 
Gaetano  Gaudio 
Gilbert  Warrenton 


King  D.  Gray 
Reginald  Lyons 
Paul  P.  Perry 
John  F.  Seitz 
Karl  Brown 


Abel,  David — with  Warner  Brothers. 

Arnold,  John — with  Metro-Goldwyn-Mayer  Picture  Corp. 

Barnes,  George  S. — with  Cosmopolitan. 

Beckway,    Wm. — 

Benoit,  Georges — with  Colorado  Pictures. 

Broening,  H.  Lyman — with  Warner  Brothers. 

Boyle,    John     W. — Chief    cinematographer,       "Ben       Hur,"       Goldwyn 

"Ones,"  Rome,  Italy. 
Brodin,  Norbert  F. — Frank  Lloyd  Productions,  First  National.  United 

Studios. 
Brotherton,  Joseph — 

Brown,  Karl — with  James  Cruze,  Famous  Players-Lasky. 
Clark.    Dan — with    Tom    Mix,    Fox    Studio. 
Cowling,    Herford    T. — Travel    Pictures,    Asia. 
Cronjager,  Henry — with  Famous  Players-Lasky,  New  York  City. 
Dean,  Faxon  M. — with  Joseph  Henabery,  Famous  Players-Lasky, 

New  York  City. 
Doran,    Robert    S. — with    Hal    Roach   Studio. 
Dored,  John — Riga,  Latvia. 
Dubray,  Joseph  A. — 

DuPar,  E.  B. — Stereoscopic  Prod.  Co. .Sacramento,  Calif. 
DuPont,    Max    B. — Tahiti. 

F'.deson,  Arthur — with  First  National,  United  Studios. 
Evans,    Perry — 
Fildew,  Wm. — 

Fisher.    Ross  G. — with   A.   J.    Brown   Productions,   Russell   Studio. 
Gaudio,  Gaetano — with  Norma  Talmadge,  Joseph  Schenck  Productions. 

United   Studio. 
Gilks,  Alfred — with  Famous  Players-Lasky. 
Glennon,  Bert — with   Paul  Bern,  Famous  Players-Lasky. 
Good,  Frank  B. — with  Jackie  Coogan. 
Granville     Fred     L. — directing,        British       International       Corporation 

London. 
Gray,  King  D. — with  Laurence  Trimble. 
Griffin,  Walter  L.— 
Guissart,    Rene — 
Haller.  Ernest — Del  Andrews  Prod. 
Heimerl,  Alois  G. — with  Al  Davis  Prods. 
Jackman,  Floyd — with  First  National,  United  Studios. 
Jackman,    Fred    W. — directing,    Hal    Roach   Studio. 
Koenekamp.    Hans   F. — with    Larry  Semon. 
Kull,   Edward — with   Universal   Studio. 

Edison,    Thomas    A 


Webb,    Arthur   C. — Attorney. 


Kurrle,  Robert — with  Edwin  Carewe,  United  Studios. 
Landers,    Sam — with    First    National,    United    Studio. 
Lockwood,    J.    R. — 

Lundin,    Walter — with   Harold    Lloyd    Productions,    Hollywood    Studios. 
Lyons,    Reginald    E. — 

MacLean.  Kenneth  G. — with  "Ben-Hur,"  Rome,  Italy. 
Marshall,  Wm. — with  Carlos  Prods. 
Meehan,  George — with  Henry  Lehrman,  Fox  Studio. 
Milner,  Victor — with  Joseph  M.  Schenck  Prod. 
Morgan,  Ira  H. — with  Marion  Davies,  Cosmopolitan. 
Norton,  Stephen  S. — with  Universal  Pictures  Corp. 
Overbaugh,    Roy  F. — New   York   City. 
Palmer,    Ernest    S. — 

Perry,  Harry— with  Paul  Powell,  M.  P.  D.  A.  Prod. 
Perry,  Paul  P. — with  Emory  Johnson  Prod.,  R.  C.  Studios. 
Polito,  Sol — with  Hunt  Stromberg  Productions. 
Ries,    Park    J  — 
Rizard.  George — New  York  City. 

Roos,  Len  H.  — Leigh-Spencer  BIdg.,  Vancouver,  B.  C. 
Rose,  Jackson  J. — Clarence  Brown,  Universal. 

Rosher,    Charles — with    Mary    Pickford,    Pickford-Fairbanks    Studio. 
Schneiderman,    George — with   Fox    Studio. 
Scott,  Homer  A. — First  National,  United  Studios. 
Seitz,   John   F. — with   Rex   Ingram. 
Sharp,    Henry — with   Thomas   H.    Ince. 
Short,    Don — 

Smith,    Steve,    Jr. — with    Vitagraph    Studio. 
Steene,    E.    Burton — New    York    City. 
Stumar,    John — with    Universal    Studio. 
Stumar,    Charles — with    Universal    Studio. 

Tolhurst,    Louis    H. — "Secrets    of    Life,"    Microscopic    Pictures,    Princi- 
pal   Pictures    Corporation. 
Totheroh,   Rollie  H. — with  Charlie  Chaplin,   Chaplin   Studio. 
Turner,  J.  Robert — with  Fox. 
Van    Buren.    Ned — New    York    City. 
Van  Enger,  Charles — with  Ernst  Lubitsch. 
Van  Trees,  James  C. — with  First  National,  United  Studios. 
Warrenton,  Gilbert — with  Harry  Pollard,  Universal  City. 
Whitman,  Philip  H. — with  Famous  Players-Lasky,  New  York  City. 
Wilky,  L.  Guy — with  William  de  Mille,  Famous  Players-Lasky. 
Honorary    Member. 


Meetings    of    the    American    Society   of   Cinematographers    are    held    every  Monday   evening.    On    the   first    and   the   third   Monday   of   each    month 
the   open    meeting    is    held;    and    on   the   second   and    the   fourth,  the    meeting   of    the    Board    of    Governors. 

Address   until   completion   of    new   Guaranty   Building 

1103   NO.   EL  CENTRO  AVENUE 

Hollywood,  California 


LOYALTY 


PROGRESS 


ART 


WEST    COAST    STUDIO 
LOS  ANGELES.  CALIF. 


OFFICE    OF 
JACK    L    WARNER 


June  19,  1924. 


Mr.  H.  P.  Boeger,  President, 
Llitchell  Camera  Company, 
6024  Santa  Monica  Blvd., 
Los  Angeles,  California. 

Dear  Sir:- 

iVe  have  always  been  very  well  pleased 

with   the   Mitchell   camera.    The   following    of  our 

productions   were    photographed  bya  Mitchell: 

Main  Street  Find    i^our  Man 

Tiger  rose  Three   Women 

Gold   Diggers  How  To  Educate  A  Wife, 

Lovers  Lane  Geo.   Washington,    Jr. 

The  Marriage   Circle. 

We    find  that    particular  mention   is   always  given 

the  photography. 

Wishing  you   continued   succese ,    I   remain 

Sincerely  yours, 

Warner  Brothers 

jLvr  w 


Vol.  V 
No.   7 


October,  1924 


25  cents 
A  Copy 


American 
Cinematographer 

Published  by  the  American  Society  of  Cinematographers,  Inc. 


DEDICATION  NUMBER 

1R  Commemorating  the  opening 
of  the  headquarters  of  the 
American  Society  of  Cinema- 
tographers in  the  new  Guar- 
anty   Building,    Hollywood. 


8 


PUBLISHED  IN     HOLLYWOOD     CALIFORNIA 


Rele 


ases 


August  17,  1924,  to  September  28,  1924 


TITLE 

Empty  Hands 

The  Breath  of  Scandal 

Butterfly 

Flirting  with  Love 

The  Fortieth  Door 

Rainbow  Rangers 

Tiger  Thompson 

Sinners  in  Silk 

K — The  Unknown 

The  Desert  Outlaw 

Paying  the  Limit 

Messalina 

A  Soul's  Awakening 

American  Manners 

Riding  Double 

Daring  Chances 

The  Speed  Spook 

It  is  the  Law 

Unseen  Hands 

The  Iron  Horse 

Dynamite  Smith 

The  Female 

The  Navigator 

Lily  of  the  Dust 

Captain  Blood 

Wine 

His  Hour 

Sinners  in  Heaven 

Merton  of  the  Movie 

Her  Own  Free  Will 

Battling  Buddy 

Circe,    Enchantress 

Tarnish 

One   Night   in   Rome 

Measure  of  a  Man 

Passion's   Pathway 

Open  All  Night 

The  Man  Who  Came  Back 

Another   Scandal 

The  Alaskan 

The  Sunset  Trail 

Oh  You  Tony 


PHOTOGRAPHED  BY 

C.   Edgar  Schoenbaum 

Harry  Perry,  member  A.  S.  C. 

Ben  Reynolds 

T.   D.    McCord 

Not  Credited 

Ross  Fisher,  member  A  S.  C. 

Henry  Sharp,  member  A.  S.  C. 

John  Arnold,  member  A.  S.  C. 

Chas.  Stumar,  member  A.  S.  C. 

Jos.  Brotherton,  member  A.  S.  C. 

Geo.   Crocker 

Alfredo  Lunci 

A.   Brown 

Wm.  Marshall,  member  A.  S.  C. 

Jacob  Badaracco 

Harry  Neuman 

Charles  Gilson  and  John  Geisel 

Geo.  W.  Lane 

Not  credited 

George  Schneiderman,  member  A.  S.  C. 

Henry  Sharp,  member  A.  S.  C. 

Alfred  Gilks,  member  A.  S.  C. 

Byron  Houck  and  Elgin  Lessley 

Alvin  Wyckoff 

Steve  Smith,      Jr.,  member  A.  S.  C. 

John  Stumar,  member  A.  S.  C. 

John  Mescall 

Henry  Cronjager,  member  A.  S.  C. 

Karl  Brown,  member  A.  S.C  C. 

Roy  Hunt 

George  Meehan,  member  A.  S.  C. 

Oliver  T.  Marsh 

Arthur   Miller   and    Billy   Tuers 

R.   J.    Bergquist 

Jackson  J.  Rose,  member  A.  S.  C. 

Not  credited 

Bert  Glennon,  member  A.  S.  C. 

Lucien  Andriot 

Dal  Clawson 

James  Howe 

Jackson  J.  Rose,  member  A.  S.  C. 

Dan  Clark,  member  A.  S.  C. 


Vol.  5 


OCTOBER,   1924 


No.  7 


American 
Cinematographer 

Foster  Goss,  Editor  and  Business  Manager 
Board  of  Editors — Victor  Milner,  H.  Lyman  Broening,    Karl    Brown,    Philip    H.    Whitman 
Alfred  B.  Hitchins,  Ph.  D.,  F.  R.  P.  S.,  F.  R.  M.  S.,  F.  C.  S.,  Associate  Editor  and  New  York 
Representative,  33  West  60th  S  reet,  Room  602,  New  York  City 


Contents 


A.  S.  C.  Occupies  New  Offices 

Pioneering  a  New  Canyon  Paradise — 

By  Dan  Clark,  A.  S.  C.         .         .  .     •-  . 

The  Publicity  Man  and  the  Cinematographer — 

By  Harry  D.  Wilson       ...... 

American  Cinematographer  Led  Fight  on  Fake 

Promoters  ;  Advertising  Clubs  Take  Up  Torch 

Making  Motion  Picture  Titles — 

By  J.  I.  Crabtree,  Eastman  Research  Laboratory 

The  Editors'  Corner 

Manhattan  Mutterings — By  Philip  H.  Whitman,  A.S.  C 
In  Camerafornia         ....  ... 

Len  H.  Roos  New  A.  S.  C.  Member     .... 

With  Herford  Tynes  Cowling,  A.  S.  C.  in  the  Orient 


Page 

4 


8 

9 
10 

12 
13 
23 


25 


An  educational  and  instructive  publication,  espousing  progress    and   art   in   motion   picture   photography. 

Published  monthly  by  THE  AMERICAN  SOCIETY    OF    CINEMATOGRAPHERS,    Inc. 
Subscription  terms:  United  States,  $3.00  a  year;  Canada,  $3.50  a  year;  foreign,  $4.00  a  year;  single  copies 

25  cents.     Advertising  rates  on  application. 
1219-20-21   Guaranty  Building,  Hollywood,  California  Telephone  GRanite  4274 

(Copyright,  1924,  by  The  American  Society  of  Cinematographers ,  Inc.) 


Four 


AMERICAN      CINEM  ATOGRAPHER 


October,  1924 


A*  S.  C.  Occupies 
New  Offices 


American  Society  of  Cinema- 

tographers  Remove  to  New 
Guaranty  Building  Headquarters 


The  American  Society  of 
Cinematographers  has  re- 
moved to  its  offices  on  the 
twelfth  floor  of  the  Guaranty 
Building,  Hollywood  Boule- 
vard and  Ivar  streets,  Holly- 
wood. While  the  A.  S.  C. 
headquarters  have  not  as  yet 
been  formally  opened,  the  So- 
ciety business  as  well  as  that 
of  the  American  Cinematog- 
rapher  is  being  handled  at  the 
new  address. 

With  the  removal  to  the 
$15,000  offices,  A.  S.  C.  mem- 
bers have  been  dealing  in  re- 
trospect over  the  humble  be- 
ginnings of  cameramen's  or- 
ganizations which  date  back 
to  as  far  as  1913  in  Cailifornia 
and  to  a  similar  period  in 
New  York.  Not  only  were  the 
meeting  places  of  the  pioneer- 
ing cameramen  of  a  very  mod- 
est nature,  but  the  very  exist- 
ence of  such  a  thing  as  a  meet- 
ing was  a  matter  to  be  dealt 
with  most  secretly  for  the 
powers  that  were — the  Mo- 
tion Picture  Patents  group 
and  others — frowned  on  any 
thing  that  carried  the  slight- 


est   suggestion     of     indepen- 
dence in  the  industry. 

H.  Lyman  Broening,  A.  S. 
S.,  relates  that  it  was  in  the 
summer  of  1913  that  the  first 
attempts  were  made  in  New 
York  City  to  found  an  organi- 
zation among  cameramen. 

Origin 

"A  nonymous  notices," 
Broening  states,  "were  sent 
out  to  as  many  cameramen  as 
it  was  possible  to  reach,  with 
a  request  that  they  reply  to  a 
certain  office  in  the  Tribune 
Building.  A  few  straggling 
replies  were  received  and  a 
meeting  was  decided  upon. 
The  eventful  evening  finally 
came.  Heinebund  Hall,  at 
Thirty-fourth  street  and 
Eighth  avenue,  was  the  tryst- 
ing  place.  Thirteen  men  ap- 
peared, each  a  stranger  to  all 
the  others  and  with  no  defi- 
nite idea  as  to  why  they  were 
there.  After  a  few  anxious 
moments  a  waiter  came  in  and 
distributed  a  paper  to  each 
that  read,  'This  meeting  is 
yours.'    Then  things  began  to 


Gilbert     Warrenton, 
president,  A.S.C. 


vice- 


happen.  A  temporary  chair- 
man and  officers  were  ap- 
pointed from  among  the  small 
group  and  they  proceeded  to 
get  together. 

In  Secret 

"Lest  there  be  opposition  by 
the  producers  the  meetings 
were  secretly  carried  on  reg- 
ularly for  six  months  and, 
with  the  establishment  of  a 
friendly  interest  among  the 
cameramen,  'The  Cinema 
Camera  Club'  made  its  debut 
into  motion  picture  society. 
The  expected  opposition  nev- 
er materialized  and  with  a 
rapidly  increasing  member- 
ship quarters  were  opened  in 
Columbus  Circle.  The  next 
move,  in  1915,  was  to  the 
Times  Building  where  the 
club  roster  climbed  to  the 
great  number  of  more  than 
120  members." 

Deteriorate 

This  great  number  of  mem- 
bers, however,  tended  toward 
the  dying  out  not  only  of  the 
New  York  organization,  but 


October,  W24 


AMERICAN      CINEMATOGRAPHER 


Five 


similar  conditions  proved  fa- 
tal to  the  original  Static  Club, 
which  got  under  way  in  Los 
Angeles  in  1913  and  which, 
by  sanction  of  the  Superior 
Court,  later  changed  its  name 
to  the  Cinema  Camera  Club 
— to  conform  with  the  title  of 
the  New  York  body. 

Rigid  Foundation 

Before  the  end  of  1918  had 
been  reached  in  Los  Angeles, 
it  became  apparent  that  a 
cameramen's  organization,  if 
it  was  to  be  successful,  had  to 
be  organized  on  a  more  rigid 
and  stringent  foundation.  It 
was  then,  in  the  latter  part  of 
1918,  that  the  American  So- 
ciety of  Cinematographers 
came  into  being,  with  ideals 
briefly  expressed  in  a  strict 
mode  of  invitational  method 
of  membership  entrance,  and 
further  summed  up  in  the 
motto,  "Loyalty,  Progress, 
Art."  The  rigid  requirements 
originally  set  for  the  A.  S.  C. 
membership  proved  the  salva- 
tion for  the  existence  of  a  cin- 
ematographers' society,  as  has 


been  proved  by  the  success 
that  the  A.  S.  C.  has  attained 
in  the  six  years  of  its  identity. 
At  the  dawn  of  the  seventh 
year,  in  fact,  the  Society  is 
found  stronger  than  ever  be- 
fore— strong  enough,  in  truth, 
to  do  a  thing  that  would  have 
been  regarded  as  a  sheer  im- 
possibility in  the  history  of 
the  other  organizations, 
namely,  to  be  so  sure  of  its  fu- 
ture as  to  make  the  investment 
that  it  has  in  the  Guaranty 
Building  in  Hollywood. 

The  first  struggling  attempt 
of  the  cameramen  to  form  a 
"club"  may  be  theoretically 
regarded  as  the  initial  mile- 
stone in  the  establishment  of 
cinematography  as  such.  In 
other  words,  the  calling  had 
never  theretofore  been  ap- 
praised as  of  sufficient  stabil- 
ity as  to  merit  it  the  name  of 
a  profession — much  less  to 
form  a  professional  organiza- 
tion as  members  of  such  a  pro- 
fession. 

Century  Ago 

Cinematography,  however, 
had  its  real  beginnings,  it  is 
claimed,  more  than  a  century 
before  the  period  in  which  the 
cameramen  got  their  first 
"club"  under  way.  It  was 
then  that  the  Frenchman,  Pla- 
teau, built  an  optical  toy  that 
was  the  forerunner  of  the 
"Zoetrop"  or  "Wheel  of 
Life."  In  1840  one  Ducos  was 
given  a  patent  in  France  on  a 
machine  that  was  said  to  have 
been  similar  to  the  "Zoe- 
trop." 

Muybridge 

The  initial  essay  at  cinema- 
tography is  generally  credited 
to  Edward  Muybridge,  who 
strangely  enough  made  his  at- 
tempts in  California  under  a 
wager  with  Leland  Stanford, 
founder  of  Stanford  Univer- 


Charles  J.  Van  Exger, 
treasurer,  A.S.C. 


sity.  The  contention  of  the 
wager,  and  of  Muybridge's 
experiments,  had  to  do  with 
the  belief  that  a  trotting  horse 
left  the  ground  completely  at 
one  point  in  its  running.  Lin- 
ingcameras  along  a  race  track, 
Muybridge  arranged  so  that 
when  the  horses  passed  each 
camera  they  would  step  on 
a  string  and  release  the  shut- 
ters. Wet  plates  of  the  great- 
est known  rapidity  were  used. 
Muybridge  recorded  one 
movement  of  the  horse.  Had 
he  carried  out  his  experiment 
through  the  period  of  one 
minute,  720  cameras  would 
have  been  required.  Later,  in 
the  eighties,  Muybridge  pros- 
ecuted his  experiments  with 
use  of  dry  plates. 

Edison 

In  1887,  the  basic  idea  of 
making  and  projecting  mo- 
tion pictures  came  to  Edison 
and  when  in  1889,  the  East- 
man Kodak  Company  was 
moving  toward  perfection  in 
its  experiments  with  film  for 

{Continued  on  page  17) 


Six 


AMERICAN     CI  N  EM  ATOGR  APHER 


October,  1924 


Pioneering  a  New 
Canyon  Paradise 


A. 


By  Dan  Clark,  A.  S.  C. 


What    Clark's    camera    caught. 


In  all  my  experiences  there  have 
been  none  so  interesting  as  that  I  un- 
derwent while  filming  '"The  Dead- 
wood  Coach"  with  Tom  Mix,  Lynn 
Reynolds  directing.  Our  location 
took  us  to  Zion  and  Brice  Canyon  in 
Southern  Utah,  which  I  will,  in  a 
meagre  way,  describe.  The  point 
of  entrance  to  both  Zion  and  Brice 
Canyon  is  Cedar  City,  Utah,  on  the 
Union  Pacific  R.  R.  From  there  we 
invaded  Zion  Canyon  which  hitherto 
had  never  been  touched  by  the  mo- 
tion picture  camera. 

After  a  trip  southwest  of  about 
five  hours  from  Cedar  City,  on  dirt 
roads,  across  country  considerably  like 
any  other  desert,  we  arrived  at  the 
gates  of  Zion  Canyon,  a  newly  ac- 
claimed national  monument  and  one 
which,  I  believe,  is  destined  to  be- 
come one  of  the  foremost  in 
America. 

Rock   Formations 

The  rock  formations  in  Zion  Can- 
yon are  a  great  deal  like  those  in  the 
Yosemite  Valley  except  that  the  for- 
mer has  more  principal  peaks  and 
points  and  is  larger  in  proportion 
than  Yosemite  Valley  proper.  The 
mouth  of  the  canyon  is  about  a  mile 
wide  at  the  entrance,  narrowing 
down  15  miles  above  to  a  gorge  less 
than   fiftv   feet   in   width   and   about 


2500  feet  high.  The  intervening  dis- 
tance is  broken  up  by  numerous  for- 
mations resembling  Glacier  Point  and 
Three  Brothers  in  Yosemite  Valley. 


The 


Coloring 
coloring  of  the 


formations 


S.  C.  Member  Carries  Cam- 
era into  Land  that  Proves 

Virgin  Pictorial  Ground 

varies  from  red  to  white  while  the 
formations  in  Yosemite  are  more  of 
the  granite  nature.  Zion  Canyon  is 
barren  in  appearance  as  compared 
with  Yosemite,  not  being  so  thickly 
wooded.  However,  on  the  summits 
and  in  the  floor  of  the  canyon,  plen- 
ty of  foliage  is  in  evidence  such  as 
various  species  of  pine,  brich,  elders, 
etc.  The  canyon  is  the  course  of  the 
Virgin  River  which  is  nearly  as  large 
as  the  Merced  out  of  Yosemite.  It 
differs,  however,  from  the  Merced, 
in  that  the  Merced  is  crystal  clear 
while  the  Virgin  is  muddy.  The  north 
and  south  fork  of  the  Virgins  com- 
bined are  about  the  size  of  the  Merced 
River. 

Backgrounds  Excellent 

In  Zion  Canyon  we  photographed 
about  seven  days  and  found  that 
photographic  conditions  were  very 
favorable,  backgrounds  excellent  for 
that  type  of.  stuff  and  in  all  had  very 
pleasing  results. 

After  returning  to  Cedar  City  and 
taking  a  course  that  inclined  to  the 
southeast,  we  proceed  to  Brice  Can- 
yon, a  distance  of  about  90  miles, 
which  is  also  a  virgin  territory,  photo- 
graphically speaking.  It,  like  Zion 
Canyon,  has  never  before  been  used 
as  background  for  a  motion  picture 
(Continued  on  page  17) 


October,  1924 


AMERICAN     CINEMATOGRAPHER 


Seven 


The  Publicity  Man  and  the  Cinematographer 

"Wampas"   President  Gives  By  Harry  D  Wilson  Camera   Artist  Declared   to 

Points  on  Cinematographer  s  Prnident  Western  Motion  pictun  Advents  Utter  Great  Potential  t  leld 
Possibilities  in  Publicity.  {THE  WAMPAS)  for  Press  and  Publicist 


Just  what  is  the  reading 
public  interested  in  most  in- 
sofar as  the  motion  picture  in- 
dustry is  concerned? 

This  question,  if  not  given 
serious  consideration,  is  easy 
to  handle  and  answer.  The 
public,  one  would  be  prone  to 
say,  is  interested  in  reading 
about  the  stars  of  the  cinema, 
their  activities,  their  new  pic- 
tures— little  personal  gossip 
stories — in  fact,  anything  that 
pertains  to  a  celebrity. 

Other  Angles 

But  if  the  question  is  given 
serious  thought,  there  are 
many  other  angles  of  the  mo- 
tion picture  that  are  interest- 
ing to  readers  of  newspapers. 
Not  every  purchaser  of  a  pa- 
per cares  what  a  woman  star 
did  today  or  how  many  miles 
a  male  star  ran  before  break- 
fast. Many  readers  like  to 
know  of  new  angles  from  a 
camera  standpoint.  Readers 
like  to  know  of  new  discover- 
ies in  the  camera  field.  There 
are  millions  of  men  and  wom- 
en interested  in  amateur  pho- 
tography. They  love  the 
thought  of  learning  some- 
thing new  about  making  pic- 
tures. The  lives  and  activi- 
ties of  stars  are  not  their  only 
reading  matter. 

No  Easy  Task 

If  I  were  publicizing  a 
cameraman,  I  would  be  free 
in  the  beginning,  to  admit  it 
is  not  an  easy  task.  Procedure 
entirely  foreign  to  that  used  in 
the  instance  of  a  star  or  player 
would  have  to  be  enacted. 

I  would  impress  upon  my 


Harry  D.  Wilson 

cameraman  of  the  necessity  of 
continual  study  of  his  art — 
experimenting  at  every  op- 
portunity. 

A  Field  Overlooked 

Newspapers  are  always 
willing  to  accept  and  give 
prominence  to  stories  that 
contain  news  regarding  a  new 
discovery  and  there  are  thou- 
sands of  readers  anxious  to 
learn  of  these  new  discoveries. 
While  the  motion  picture  in- 
dustry has  grown  from  that 
long  used  term  "infancy," 
there  is  still  ample  room  for 
enlargement  of  ideas  and  dis- 
coveries, particularly  from 
the  cameraman's  angle.  Not 
long  since,  a  cameraman  dis- 
covered a  means  of  lessening 
klieg  eyes.  The  story  sent  out 
was  a  brief  notation  of  this 
fact.  If  treated  properly,  this 
would  have  made  an  excellent 
feature  news  story,  would 
have  been  covered  bv  syndi- 


cate and  wire  services  and  the 
man  in  the  case  would  have 
received  an  abundance  of  le- 
gitimate and  constructive  ex- 
ploitation for  his  work. 

Constructive  Material 

Constructive  publicity  has 
come  to  be  a  thing  desired  by 
all  editors.  The  day  of  false 
drowning  and  bringing  ani- 
mals into  hotel  rooms  are 
over.  The  20th-century  pub- 
licity man  has  become  a 
working  partner  of  the  editor. 
He  realizes  more  and  more 
the  editor's  point  of  view  and 
the  editor  in  turn,  has  learned 
to  appreciate  the  cooperation 
now  existing  between  his  pa- 
per and  the  press  representa- 
tives. 

Dwell  On  Photography 

Beautiful  photography  is 
another  asset  for  a  camera- 
man. Every  cameraman  likes 
to  obtain  excellent  photo- 
graphic results  from  his  work. 
If  more  time  were  spent  by 
press  representatives  on  dwell- 
ing on  facts  regarding  the 
photography  obtained  in  pro- 
ductions, readers  would  cher- 
ish these  stories,  for  as  I  have 
said,  there  are  other  things 
just  as  important  as  the  color 
of  a  gown  worn  by  a  star  in  a 
scene  or  the  athletic  prowess 
of  a  male  star. 

Treated  Too  Lightly 

The  cameraman  is  about  as 
important  a  spoke  in  the  film 
wheel  as  any  other  necessity. 
In  fact,  without  the  camera, 
there  would  be  no  motion  pic- 

(Continued  on  page  16) 


Eight 


AMERICAN     CINEMATOGRAPHER 


October,  1924 


American  Cinematographer  Led  Fight  on  Fake 
Promoters;  Advertising  Clubs  Take  Up  Torch 


Made  First  Successful  Step 
to  Squelch  Activities  of 
False  Film    Representations 

A  recent  bulletin  of  the  Associated  Advertising  Clubs 
of  the  World  attacking  the  methods  of  fraudulent  sales 
of  motion  picture  stock  and  warning  communities  remote 
from  film  production  centers  to  be  on  guard  against  pro- 
motion companies  that  do  not  operate  in  good  faith,  is 
being  constructed  as  highly  commendatory  of  the  work 
of  the  Will  Hays  organization  toward  a  similar  end. 

Readers  of  the  American  Cinematographer  will  be 

interested  in  the  intensified  attention  given  the  inland 
community  stock-seller,  especially  in  view  of  the  fact  that 
this  publication  definitely  took  the  lead  against  the  shady 
operators  months  before  similar  matters  were  given  or- 
ganized  effort   in    other   quarters. 

While  the  American'  Cinematographer  did  not 
attend  its  successful,  though  brief,  "crusade"  against  the 
film  promoters  with  the  blare  of  trumpets,  the  results 
which  this  publication  attained  not  only  aroused  the 
authorities  of  a  leading  Middle  W estern  state  but  served 
to  direct  attention  to  situations  which  too  long  had  been 
moving  toward  the  end  of  discrediting  the  motion  picture 
business,  in  general,  in  cities  and  towns  not  sophisticated 
to  the  ways  of  cinema  production. 

It  is  now  more  than  a  year  ago  since  this  publication 
brought  to  light  the  operations  of  an  organization  known 
as  "The  Independent  Motion  Picture  Producing  Com- 
pany," which,  operating  in  Dayton,  Ohio,  had  set  out  to 
convince  that  section  of  Ohio  that  it  icas  an  ideal  center 
of  film  production — and,  incidentally,  to  allow  the  good 
citizens  of  Dayton  to  become  "associated"  with  the 
"enterprise." 

This  publication  revea'ed  the  outfit's  gross  misuse  of 
names,  among  which  were  some  of  the  most  noted  on  the 
screen.  It  further  threw  considerable  light  on  the  pre- 
tensions of  the  "supervising  director"  of  the  outfit — who, 


The  statement   of  the  Advertising   Clubs  follows: 

"The  rapid  development  of  the  motion  picture  industry 
to  its  present  status  as  one  of  the  largest  in  our  national 
life  is  worthy  of  consideration  by  all  business  men.  Its 
relation  to  the  civic  activities  of  practically  every  village. 
town  and  city  is  very  close.  The  popularity  which  it  has 
achieved  through  its  ability  to  entertain  and  instruct  the 
great  masses  is  outstanding.  All  classes  of  citizens  are 
interested  in  motion  pictures  because  their  appeal  is  uni- 
versal. 

"In  its  commercial  and  financial  phases,  the  industry 
has  been  recognized  as  a  business  which  has  come  to 
stay.  Its  history  has  many  analogies  with  the  growth  and 
development  of  our  older  industries  which  in  their  turn 
were  improperly  exploited  by  promoters.  Today,  the 
motion  picture  business,  when  properly  and  efficiently 
conducted  by  experienced  management,  is  a  safe  and  sane 
investment  receiving  the  support  of  banking  and  other 
financial  institutions. 


Played  Searchlight  on  Tac- 
tics of  Charlatans.  Officials 
Took  Legal  Action  as  Result 

in  a  lengthy  letter  to  the  editor  of  the  AMERICAN  CINE- 
MATOGRAPHER, even  went  to  the  extent  of  vouchsafing 
that  he,  on  behalf  of  the  cameraman's  ivelfare,  had  used 
his  "influence"  with  the  New  York  Morning  Telegraph 
with  which  neivspaper,  he  stated,  he  was  "connected"  at 
the  time.  But  the  "supervising  director's"  claims  in  this 
direction  were  likewise  shattered  by  a  wire  from  the 
managing  editor  of  the  Morning  Telegraph  to  the  effect 
that  the  man,  who  had  set  out  to  make  Dayton  another 
Hollywood ,  had  solicited  advertisements  for  the  New 
York  paper  for  a  period  of  two  weeks,  but  who  had 
"never  influenced  the  Morning  Telegraph  to  do  any- 
thing." 

Handicapped  by  the  fact  that  it  zvas  three  thousand 
miles  away  from  the  scene  of  the  promoter's  activities  and 
further  by  the  fact  that  it  is  a  monthly  publication ,  the 
American  Cinematographer  had,  before  its  next  issue 
appeared,  literally  "chased''  the  misleading  company  out 
of  business-  On  reading  the  expose  in  this  publication, 
Albert  H-  Scharrer,  prosecuting  attorney  of  Montgomery 
County,  forthwith  requested  the  Ohio  state  securities  com- 
mission to  revoke  the  stock  selling  license  of  the  company 
in  question,  basing  his  action  primarily  on  the  information 
which  had  been  gathered  by  this  magazine.  In  fact,  in 
his  official  communication  to  the  commission ,  Prosecutor 
Scharrer  referred  directly  to  the  American  CINEMA- 
TOGRAPHER. To  his  honor  as  well  as  to  that  of  this 
journal,  in  its  own  field,  fell  the  distinction  of  having 
been  the  first  public  official  to  squelch  the  manipulations 
of  an  outfit,  against  the  like  of  which  the  Hays  organiza- 
tion is  now  said  to  be  up  in  arms.  Needless  to  say,  the 
entire  affair,  once  the  lid  had  been  removed  from  the  pot 
by  this  publication  which  assembled  its  information  some 
three  thousand  miles  away,  created  something  of  a  sensa- 
tion in  Dayton,  the  local  newspapers  devoting  eight- 
column   streamers   to   the  revelations. 


"Trading  upon  its  inherent  qualities  and  wide  appeal, 
imposters  are  attempting  to  defraud  the  public  through 
misleading  references  to  the  success  which  has  accompa- 
nied the  growth  of  the  industry.  Quite  unwittingly,  the 
valued  endorsement  of  various  Chambers  of  Commerce 
throughout  the  country  has  been  given  to  the  promoters 
of  certain  motion  picture  enterprises  which  not  only  do 
not  deserve  such  support,  but,  on  the  contrary,  should  be 
most  heartily  condemned. 

"From  time  to  time,  notice  reaches  us  of  cases  where  the 
local  Chamber  of  Commerce  instead  of  protetcing  its  com- 
munity has  been  placed  in  a  position  of  embarrassment 
upon  the  subsequent  discovery  that  the  motion  picture 
promotion  so  enthusiastically  endorsed  was,  in  fact,  a 
'South  Sea  Bubble.' 

"There  is  nothing  particularly  new  or  startling  in  the 

statement    that    many    citizens    have    been    victimized    by 

unscrupulous  promoters,  but  you  should  know  of  this  new 

and  unwilling  consort  of  the  promoter — motion  pictures. 

(Continued  on  page  18) 


October,  1924 


AMERICAN     CINEM  ATOGRAPHER 


Nine 


Making  Motion 

Picture  Titles 


By  J.  I.  Crabtree 

Eastman  Research  Laboratory 


From  Transactions, 

Society  of  Motion 

Picture  Engineers 


A  motion  picture  title  may  be  defined  as  the  reading 
matter  interspersed  between  the  scenes  in  order  to  assist 
in  a  better  understanding  of  the  picture-  As  a  result  of 
refinements  in  scenario  writing,  and  in  acting,  the  modern 
photoplay  requires  less  verbal  description  than  formerly, 
the  tendency  being  to  make  the  picture  "speak  for  itself" 
as  far  as  possible.  This  cutting  down  of  the  quantity  of 
title  matter  has  resulted,  however,  in  a  marked  improve- 
ment in  quality,  especially  in  the  direction  of  more  artistic 
lettering  and  the  addition  of  suitable  backgrounds,  espe- 
cially in  color. 

The  Nature  of  a   Title 

Title  matter  as  seen  on  the  screen  usually  consists  of 
white  lettering  on  a  more  or  less  dark  background.  Black 
letters  on  a  white  background  are  rarely  seen.  The  dark 
background  gives  increased  visibility  of  the  lettering  with 
a  minimum  of  eyestrain  while  the  dark  background  pre- 
vents a  sudden  change  in  screen  brightness  which  would 
result  if  a  white  background  title  succeeded  a  dark  interior 
scene.  In  this  connection  there  is  a  growing  tendency 
to  eliminate  the  extremely  contrasty  titles  formerly  in 
vogue  by  the  use  of  backgrounds  of  lighter  density  so  that 
the  screen  brightness  more  nearly  approaches  the  inte- 
grated screen  brightness  existing  with  the  average  scene. 

Classification   of  Titles 

Titles  may  be  classified  as  follows : 

1.  Uniform  background   titles. 

2.  Illustrated  background  titles. 

3.  Titles    with    relief    lettering    with    either    plain    or 
illustrated  background. 

4.  Scroll    titles    having    either    uniform    or    illustrated 
backgrounds  with  or  without  relief  lettering. 

5.  Animated  titles. 
I.     Uniform   Background  Titles 

A  motion  picture  title  is  made  by  photographing  the 
copy  by  means  of  reflected  or  transmitted  light.  The  copy 
may  consist  either  of  printed  matter  or  hand  lettering  on 
an  opaque  or  translucent  support-  The  lettering  may 
be  either  black  on  a  white  or  translucent  ground  or  vice 
versa  according  as  a  direct  positive  for  insertion  in  the 
positive  print,  or  a  negative  (indirect  title)  for  insertion 
in  the   negative  proper   is   required. 

Direct  and  Indirect   Titles 

A  direct  title  is  one  which  is  made  directly  on  positive 
film  by  photographing  either  black  lettering  on  a  white 
card  by  reflected  light  or  black  lettering  on  a  transparent 
support  by  transmitted  light-  If  only  a  few  copies  are  to 
be  made  it  is  more  economical  to  make  direct  titles  because 
the  necessity  of  making  an  intermediate  negative  is  elimi- 
nated, although  insertion  of  positive  titles  in  the  positive 
print  introduces  an  abnormal  number  of  splices.  If  a 
number  of  copies  are  desired  or  if  a  minimum  number  of 
splices  are  required  in  the  print  then  it  is  necessary  to 
make  a  negative  title  which  is  inserted  in  the  negative 
proper    before    printing. 

When  making  direct  titles  on  positive  film  it  is  neces- 
sary to  photograph  through  the  base;  that  is,  the  base 
side  of  the  film  should  face  the  lens.     This  reversal  of 


the  film  in  the  camera  gate  is  unnecessary  if  a  reversing 
prism  is  used  before  the  lens  or  if  transparencies  are 
copied,  since  these  can  be  reversed  before  the  illuminator. 
When  photographing  through  the  base  of  the  film  the 
image  lies  chiefly  in  the  under  layers  of  the  emulsion  so 
that  development  of  the  image  is  somewhat  retarded  and 
it  is  not  possible  to  secure  quite  as  much  contrast  under 
given  conditions  as  when  photographing  directly  on  the 
surface  of  the  emulsion,  although  this  difference  is  not  of 
great  practical  importance. 

In  case  positive  film  with  tinted  base  is  used  for  making 
direct  titles  by  photographing  through  the  film  base,  the 
screening  effect  of  the  colored  base  must  be  compensated 
for  by  a  proportionate  increase  in  exposure.  The  relative 
exposure  necessary  under  identical  conditions  with  the 
various  Eastman  tinted  bases  is  as  follows: 


Nature  of  Tinted  Base 
Ordinary  Positive 
Red 
Pink 
Orange 
Amber 
Yellow 
Blue 


Relative  Exposure 
1 
Very  great 
1.75 
4.0 
7.0 
8.0 
1.0 


When  using  a  reversing  prism  or  when  photographing 
the  copy  by  transmitted  light,  variation  of  the  exposure 
with  the  different  bases  is,  of  course,  unnecessary. 

Reflected  and  Transmitted  Titles 

The  advantage  of  making  titles  by  transmitted  light 
as  against  reflected  light  may  be  tabulated  as  follows: 

1.  It  is  possible  to  secure  greater  contrast  when  photo- 
graphing by  transmitted  than  by  reflected  light  for  the 
following  reason : 

The  whitest  paper  obtainable  reflects  only  about  70% 
of  the  incident  light  while  the  blackest  ink  reflects  about 
2%,  so  that  the  contrast  between  the  background  and  the 
lettering  is   1    to  35. 

In  the  case  of  a  transparency  consisting  of  clear  letter- 
ing on  a  background  having  a  photographic  density  of 
2.0  which  transmits  one-hundredth  part  of  the  incident 
light,  the  contrast  is  about  1-100  or  nearly  three  times 
that  of  the  best  result  obtainable  by  reflected  light.  Al- 
though it  is  seldom  necessary  to  secure  maximum  contrast. 
in  choosing  between  two  methods  of  working  the  one 
capable  of  giving  the  most  contrast  should  be  chosen. 

2.  The  tendency  of  the  lettering  to  veil  over  is  a 
minimum-  An  average  title  has  a  background  density  of 
1.5  to  20,  but  when  making  direct  positive  titles  by 
reflected  light,  especially  if  the  lettering  is  small,  the 
letters  "fill  in"  or  become  veiled  if  sufficient  exposure  is 
given  to  secure  a  background  density  of  this  order.  For 
making  direct  positive  titles  the  transmitted  light  method 
is  strongly  recommended,  because  it  is  capable  of  giving 
high  contrast  with  comparative  ease. 

3.  Compound  and  background  titles  are  readily  made 
by  superimposing  two  transparencies  without  the  necessity 
of  double  exposure  as  is  the  case  with  reflected  titles. 

4.  When  making  direct  positive  titles  on  tinted  base  it 

(Continued  on  page  19) 


Ten  AMERICAN     CINEMATOGRAPHER  October,  192+ 


The  Editors'  Lens  f°cused  h  Foster  g°ss 

{JTo  those  who  have  observed  the  progress  of  the  motion  picture 
industry,  the  opening  of  the  headquarters  of  the  American  Society 
of  Cinematographers  in  the  new  Guaranty  Building  in  Hollywood 
assumes  the  proportions  of  a  milestone  in  the  history  of  the  cinema. 

i^  Certainly  the  coming  of  the  new  A.  S.  C.  establishment  signalizes 
the  progress  of  the  cinematographer  and  cinematography  alike. 
It  was  to  further  such  progress  that  the  American  Society  of 
Cinematographers  was  brought  into  being  some  six  years  ago,  at 
which  time  the  ideals  of  the  newly  formed  organization  were 
crystallized  in  the  motto,  "Loyalty,  Progress,  Art." 

IjJThat  those  ideals  have  been  brought  to  consummation  may  be 
appreciated  not  only  from  the  contemplation  of  the  monument 
that  the  Society  as  such  has  caused  to  be  erected  in  the  Guaranty 
Building  to  further  establish  its  identity,  but  they  are  more  visibly 
illustrated  by  the  contributions  of  A.  S.  C.  members  to  the  film 
art  since  the  formation  of  the  American  Society  of  Cinema- 
tographers. 

Cjf  Consider  what  progress  cinematography  has  made  since  1918. 
If  it  weren't  for  its  continual  broadening  process — guided  by 
the  cinematographer  himself — would  there  have  been  possible 
such  pictures  as  "The  Covered  Wagon,"  "The  Four  Horsemen," 
"Robin  Hood,"  "The  Thief  of  Bagdad,"  "The  Sea  Hawk," 
"Captain  Bolod,"  "Abraham  Lincoln"  or  a  score  of  others?  Such 
productions  do  more  than  speak  for  their  own  particular  cinema- 
tographer. They  are  indicators  of  the  superior  cinematography 
that  has  generally  found  its  way  into  all  pictures,  whether  they 
be  large  or  small.  It  is  worth  while  to  point  out,  however,  that 
all  of  the  aforementioned  productions  were  photographed  by 
A.  S.  C.  members  as  were  virtually  every  one  of  the  others  that 
have  proved  important  successes  since  the  founding  of  the  Society. 

IJJWith  a  past  that  is  already  filled  with  the  pictorial  achievements 
of  its  members,  the  American  Society  of  Cinematographers  shows 
in  no  uncertain  manner  the  beneficial  effect  that  its  existence 
has  had  on  the  industry  as  a  whole.  True  enough,  big  pictures 
no  doubt  would  have  been  produced  if  the  A.  S.  C.  had  never 
functioned  at  all — but  would  those  same  pictures  have  achieved 
their  artistic  heights  without  the  presence  of  that  grade  of  finished 
cinematography  that  the  Society  successfully  set  out  to  encourage 


O,  tober,  192J  AMERICAN     CINEMATOGRAPHF.K  Eleven 


and  promote?  Need  it  be  said  then,  that  the  importance  of  the 
A.  S.  C.  has  long  since  been  recognized  in  the  industry — the 
success  and  future  of  which  needs  must  always  be  basically  guided 
and  governed  by  the  progress  of  cinematography. 


IJ  Echoes  of  a  movement  which  the  American  Cinematographer 
carried  to  triumphant  conclusion  against  a  questionable  film 
promotion  outfit  in  Dayton  more  than  a  year  ago,  are  suggested 
in  a  report  of  the  Associated  Advertising  Clubs  of  the  World 
carried  elsewhere  in  this  issue. 

tj  Before  the  motion  picture  business  had  showed  any  signs  of  being 
aroused  to  the  detriment  that  was  being  worked  against  it  by 
the  fraudulent  companies,  this  publication  in  its  short  campaign 
definitely  demonstrated  that  the  misbehaving  parties  can  be 
brought  to  justice,  if  only  the  effort  is  made  and  the  courage  is 
present  to  do  so.  It  was  not  a  light  task  for  the  American  Cinema- 
tographer, a  publication  that  is  issued  monthly,  to  achieve  the 
honor  of  being  the  first  to  remove  the  film  promotion  menace 
from  a  community  like  Dayton — and  in  so  doing  to  free  the 
industry  of  that  particular  menace.  But  with  a  patience  and  a 
thoroughness  of  investigation  which  brought  out  facts  which  the 
Ohio  authorities  could  not  overlook,  it  made  the  expose  of  the 
parties  a  comparatively  simple  affair — with  the  result  that  Dayton 
has  not  since  (as  it  had  been  before)  been  bothered  by  such  get- 
rich-quick  cinema  schemes. 


^f  The  American  Cinematographer  wishes  to  commend  the  manage- 
ment of  the  Criterion  Theatre,  Los  Angeles,  and  Frank  Lloyd 
on  the  "A.  S.  C.  Night"  which  was  recently  held  at  the  Criterion, 
where  "The  Sea  Hawk"  was  showing  at  the  time. 

CJSuch  a  spirit  on  the  part  of  theatre  and  producer  is  indeed 
gratifying  to  the  cinematographer  who  sees  therein  the  recognition 
of  his  strivings  which  have  not  always  been  given  cognizance 
in  all  quarters. 

IJLet  it  be  prayed  that  occasions  such  as  which  the  Criterion  and 
Mr.  Lloyd  set  aside  will  come  again  from  time  to  time  in  the 
future,  so  that  the  public  may  have  presented  to  it  some  symbol 
of  the  prestige  which  the  cinematographer  commands  among  his 
own  people. 


fzuelve 


AMERICAN     CINEMATOGRAPHER 


October,  1924 


Manhattan  Mutterings 

By  Philip  H.  Whitman,  A.  S.  C. 


tj Being  mumblings  heard  by  an  A.  S.  C. 
member  in  rumbling  and  rambling  about  old 
New  York  town. 


Philip  H.  Whitman,  A.S.C. 

Another   One  Arrives 

<J  Faxon  Dean,  A.  S.  C.  breezed  into  the 
"village  on  the  subway"  last  week  to  take 
up  the  photographic  reins  on  Joe  Hena- 
bery's  new  picture  for  Famous  Players- 
Lasky.  Tom  Meighan  will  star,  the  title 
of  the  production  being  "Tongues  of 
Flame." 


family  with  him,  left  for  the  coast.  While 
here  he  secured  some  excellent  photog- 
raphy but  did  not  acquire  a  New  York 
accent,  Derby  hat  or  walking  stick.  Good 
luck,  Frank,  old  boy!  Don't  drop  the 
old  kit  bag. 


Finishes 

C]J  Roy  Overbaugh,  A.  S.  C.  has  com- 
pleted photography  on  "Classmates,"  the 
Richard  Barthelmess  production  which 
was  directed  by  John  Robertson.  It  is 
understood  that  Roy  secured  some  un- 
usual photographic  effects  and  the  pre- 
view is  looked  forward  to  with  a  great 
deal  of  anticipation. 


Lauded 
Cfl  Henry  Cronjager,  A.  S.  C.  is  receiving 
the  congratulations  of  his  fellow  workers 
over  the  excellent  notices  he  received  on 
his  last  picture,  "Sinners  In  Heaven,"  di- 
rected by  Alan  Crosland  for  Famous 
Players-Lasky. 


Home  Sweet  Home 

f  Exit  Frank  Good,  A.  S.  C.  Having 
finished  the  photography  on  "The  Rag 
Man,"  Jackie  Coogan's  latest,  Frank 
packed   the  old   kit  bag  and  taking  the 


Sails  Soon 
Cjj  John  Seitz,  A.  S.  C.  who  has  been 
marking  time  here  pending  the  com- 
pletion of  plans  for  the  next  Rex  Ingram 
production,  expects  to  sail  for  Europe 
soon.  It  is  understood  that  Mr.  Ingram's 
new  story  will  be  by  Blasco  Ibanez, 
author  of  "The  Four  Horsemen"  and  will 
feature  Alice  Terry.  Both  exteriors  and 
interiors  will  be  taken  abroad. 

(Continued  on  page  15) 


October,  1924 


AMERICAN     CINEMATOGRAPHER 


Thirteen 


Reginald  Lyons.  A.  S.  C,  has  finished  the  filming  of 
"The  Man  Who  Played  Square,"  a  Fox  production, 
starring  Buck  Jones  and  directed  hy  Al  Santell.  Wanda 
Hawley  played  the  feminine  lead.  Reggie  reports  a  "de- 
lightful"   trip    to    Sonora,    Calif.,    where    the    mercury 

climbed  to  98  in  the  shade. 

*  *     * 

H.  Lyman  Broening,  A.  S.  C,  has  completed  photog- 
raphy on  the  Warner  Bros,  production,  "The  Lighthouse 
by  the  Sea,"  directed  by  Mai  St.  Clair.  Rin-tin-tin,  the 
dog,  was  starred.  The  cast  included  Louise  Fazenda, 
Charles  Mailes,  William  Collier,  Jr.,  and  Douglas  Ger- 
rard.  Lyman  developed  sea  legs  in  the  filming  of  the 
production,  which  was  almost  filmed  entirely  at  Laguna 

Beach  and  at  the  port,  San  Pedro,  Calif. 

*  *     # 

L.  Guy  Wilky,  A.  S.  C,  is  filming  "Locked  Doors," 
William  de  Mille's  latest  production  for  Paramount. 
Betty  Compson   heads  the  cast. 

*  *     * 

Victor  Milner,  A.  S.  C,  has  finished  the  cinematogra- 
phy on  "Learning  to  Love,"  a  Joseph  M.  Schenck  pro- 
duction starring  Constance  Talmadge  and  directed  by 
Syd  Franklin.    Tony  Moreno  played  the  male  lead. 

Paul  P.  Perry,  A.  S.  C,  took  up  the  reins  where  Victor 
Milner,  A.  S.  C,  was  forced  to  drop  them  and  completed 
the  shooting  of  "Hard  Cash,"  produced  by  the  Erb  organ- 
ization at  the  F.  B.  O.  studios.  Milner  was  called  back 
to  Schenck  productions  to  film  the  latest  Constance  Tal- 
madge feature. 

A.  L.  Gilks,  A.  S.  C,  has  been  seriously  contemplating 
the  annexation  of  a  lasso  lens  in  order  to  catch  the  cattle, 
cinematographically,  that  have  been  milling  before  his 
camera  for  the  production  of  Paramount's  "North  of  36," 
the  Emerson  Hough  epic  which  is  being  directed  by  Irving 

Willat.     Lois  Wilson  and  Jack  Holt  head  the  cast. 

*  *     * 

Robert  Kurrle,  A.  S.  C,  celebrated  the  opening  of  the 
deer  season  with  a  three  day  trip  which  resulted  in  his 

bagging  a  250  pound  buck. 

*  *     * 

Tonv  Gaudio,  A.  S.  C,  has  completed  the  filming  of 
"The  Lady,"  the  latest  Joseph  M.  Schenck  production 
starring  Norma  Talmadge,  and  has  gone  on  his  first 
vacation  in  many  months. 

*  *     * 

Ira  H.  Morgan,  A.  S.  C,  is  in  Tahiti  filming  the 
Cosmopolitan  production,  "Never  the  Twain  Shall  Meet." 
Maurice  Tourneur  is  directing.  The  cast  includes  Anita 
Stewart,  Bert  Lytell,  Huntley  Gordon,  George  Seigman 
and  Lionel  Belmore.  Before  leaving  for  the  inland,  the 
company  was  on  location  at  San  Francisco.  The  outfit 
is  scheduled  to  return  the  last  of  October  to  Hollywood. 
The  interiors  will  be  filmed  at  the  Metro-Goldwyn- 
Mayer  studios,  Culver  City. 


Perry  Evans,  A.  S.  C,  has  been  doing  special  work  on 
the  trick  phases  of  First  National's  "The  Lost  World,"  in 

co-operation  with  Homer  Scott,  A.  S.  C. 

*  *     * 

King  Gray,  A.  S.  C,  has  completed  the  filming  of  the 

latest  Larry  Trimble  production. 

*  *     * 

James  Van  Trees,  A.  S.  C,  will  leave  shortly  for  New 
York  City  where  he  will  film  his  next  First  National 
production,  John  Francis  Dillon  directing.  Van  Trees 
has  been  busy  for  the  past  several  days  assembling  equip- 
ment for  use  in  the  big  city,  over  which  Phil  Whitman, 
A.  S.  C,  now  reigns  supreme.  Phil  promises  to  be  on 
guard  to  prevent  the  boys  from  selling  the  Brooklyn 
Bridge  or  Long  Island  to  any  members  of  Van  Trees' 

troupe. 

*  *     * 

Gilbert  Warrenton,  A.  S.  C,  has  gone  to  Victorville, 
Calif.,  where  he  will  spend  several  weeks  on  location  for 
the  filming  of  his  latest  production  at  Universal. 


Frank  Lloyd,  Criterion  Hosts 

at  "A.S.C.  Night"  of  "Sea  Hawk" 

Through  the  courtesy  of  Frank  Lloyd  and  the  manage- 
ment of  the  Criterion  Theatre,  Los  Angeles,  members  of 
the  American  Society  of  Cinematographers  recently  were 
the  honored  guests  at  an  "A.  S.  C.  Night"  at  the  Criterion 
where  Lloyd's  production  of  "The  Sea  Hawk,"  which 
was  photographed  by  Norbert  F.  Brodin,  A.  S.  C,  was 
being  exhibited. 

Tribute  to  Cinematographer 

The  "A.  S.  C.  Night"  was  designed  to  pay  tribute  in 
a  concrete  way  to  the  cinematographer's  importance  in 
feature  productions — which  importance  was  forcefully 
illustrated  to  those  present,  as  well  as  to  all  who  have 
viewed  "The  Sea  Hawk,"  through  the  medium  of  the 
superior  cinematography  in   that  production. 

First  of  Kind 

Although  "nights"  of  various  sorts  have  become  an 
institution  in  theatrical  circles,  the  "A.  S.  C.  Night"  at 
the  Criterion,  thanks  to  the  initiative  of  Frank  Lloyd  and 
of  the  management  of  the  theatre,  was  the  first  at  which 
attention  was  ever  centered  on  the  cinematographer. 

Executives  of  the  theatre  and  of  Frank  Lloyd  produc- 
tions pronounced  the  affair  a  success  in  every  way,  and 
are  looking  forward  to  the  staging  of  similar  occasions. 

Johnston  in  Charge 

Arrangements  for  the  night  at  the  Criterion  were  con- 
ducted by  John  Le  Roy  Johnston,  director  of  publicity  for 
Frank  Lloyd  productions.  Johnston,  who  is  a  veteran  in 
theatre,  production  and  film  exchange  matters,  was  in  a 
large  share  responsible  for  the  success  of  the  venture. 


Fourteen  AMERICAN     CINEMATOGRAPHER  October,  1924 


EASTMAN 
NEGATIVE  FILM 

You  can't  take  chances  with  the 
film. 

The  expense  of  cast,  direction,  sets, 
lighting,  is  not  to  be  sacrificed — the 
film  must  be  right. 

And  in  the  case  of  Eastman  Negative 
Film  you  know  it's  right — the  film 
is  unrivaled  for  dependability. 


A  good  negative  deserves  a  good 
positive — your  negatives  deserve 
hastman  Positive  Film.  It  carries 
quality  from  studio  to  screen. 


EASTMAN    KODAK    COMPANY 

ROCHESTER,  N.  Y. 


October,  1924 


AMERICAN     CINEMATOGRAPHE" 


Fifte 


MANHATTAN   MUTTERINGS 

(Continued  from  page  12) 

Winter  Comes 
IJNo  longer  are  the  boys  singing  ''In 
The  Good  Old  Summer  Time"  as  they 
take  a  sail  up  the  sound  or  a  stroll 
through  the  park,  for  be  it  known  that  the 
thermometer  in  these  here  parts  is  tak- 
ing a  fall  very  similar  to  the  one  taken  by 
Firpo  in  his  recent  contest  with  Wills  if 
contest  it  can  be  called.  A  song  that 
should  go  big  right  now,  at  least  with 
eastern  cinematogs  is  "When  Will  The 
Sun  Shine  For  Me?"  All  of  the  forego- 
ing being  just  in  the  nature  of  a  tip  so  that 
when  the  rest  of  the  A.  S.  C.  comes  to 
New  York  they  can  don  the  old  red  flan- 
nels, ear  muffs  and  woolen  mittens  and 
bring  along  a  few  hundred  sun-arcs. 
However,  it  may  turn  warm  again  as 
every  New  Yorker  has  assured  me  that 
the  present  weather  is  most  unusual,  a 
phrase  I  haven't  heard  since  leaving 
Hollywood. 


Under  Way  At  Last 

CJThe  writer  is  in  receipt  of  a  post  card 
from  Kenneth  G.  MacLean,  A.  S.  C,  in 
Rome  that  states  that  production  on  "Ben 
Hur"  is  in  full  swing.  MacLean  is  in 
charge  of  the  special  photographic  ef- 
fects embracing  both  miniatures  and  trick 
stuff. 


In  Paris 

CjJThe  Gloria  Swanson  unit  of  Famous 
Players-Lasky  is  busily  engaged  in  Paris 
on  the  production  "Madam  Sans-Gene," 
her  latest  starring  vehicle.  George  Web- 
ber is  in  charge  of  the  photography  and 
the  plan  is  to  cover  both  exteriors  and  in- 
teriors over  there. 


Some  Reply 

tj The  writer  witnessed  the  recent  Firpo- 
Wills  fight' in  Jersey  City  together  with 


a  Government  bond 
and  a 

67Guaranty 

term  account 


{PW" 


association 


Guaranty  A  1 

jra^^sociabon 


Liberal  reward  for  the  return  of  solitaire  diamond 
ring  containing  one  diamond  approximately  9  karats 
and  30  small  diamonds,  platinum  mounting.  Lost  in 
Hollywood  or  Los  Angeles,  September  16  or  17. 
Finder  notify  Toplis  &  Harding,  Inc.,  216  Story  Bldg., 
Los   Angeles,   Calif.     Phone   MEtropolitan   4650. 


Sixteen 


AMERICAN     CINEMATOGRAPHER 


October,  1924 


Congratulations  to  the  A*  S.  C. 

TT7E  regard  the  opening  of  the  new  A.    S.    C.   offices   in   the   Guaranty 
▼  V    Building  as  a  testimonial  to  the  progress  with  which  the  cameraman  has 
imbued  the  film  industry  since  its  inception. 

Without  good  cinematography,  the  motion  picture  production,  no  matter 
how  superior  it  otherwise  may  be,  fails. 

But  good  cinematography  does  not  end  when  the  cameraman  takes  the 
negative  out  of  the  camera.  It  is  then — when  the  negative  reaches  the  lab- 
oratory— that  cinematography  attains  its  crucial  stage.  To  a  great  degree, 
the  laboratory  rules  what  the  public  sees. 

Play  safe  (as  other  important  producers  are  doing),  and  entrust  your 
negative  to  Roy  Davidge — whose  methods,  though  based  on  many  years  of 
experience,  give  you  the  advantage  of  real  progress  in  laboratory  treatment — 
the  same  sort  of  progress  that  the  A.  S.  C.  has  brought  forth  in  camera  work 
itself. 

ROY     DAVIDGE     FILM     LABORATORIES 

Phone  GRanite  9503 
6701  Santa  Monica  Boulevard    (Opposite   Brulatour's) 


A      trial 


iv  t 


t  h      Davidge 


i  s 


n   o 


experiment 


(Continued  from  page  7) 

tures.  I  think  the  cameraman 
and  his  abilities  and  work 
have  been  treated  too  lightly 
in  publicity.  He  is  an  impor- 
tant factor  to  the  film  prob- 
lem— he   should    be   given 


more  consideration — far  more 
than  he  today  receives.  A 
good  cameraman  needs  be  a 
good  student.  He  must,  in 
turn,  work  just  as  hard  for  a 
goal  as  must  the  director  for 
a   good   picture.     There   are 


many  publicity  angles  from  a 
cameraman's  standpoint  that 
could  be  developed  in  con- 
structive publicity.  Let  us  not 
forget  the  man  behind  the  tri- 
pod— he  is  the  life  of  the 
flickering  films — t  r  e  a  t  his 
work  not  too  lightly. 


(Continued  from  page  15) 

a  certain  cinematographer  whose  name 
shall  remain  unknown.  As  the  two  bat- 
tlers stepped  into  the  ring  the  arc  lights 
were  turned  on  so  they  could  pose  for 
pictures.  A  chap  sitting  next  to  us  leaned 
over  and  asked,  "How  does  Wills  look 
to  you?"  To  which  question  my  cinema- 
tographer friend  replied,  "I  don't  know 
old  man.  I  haven't  my  blue  glass  with 
me." 


New  Ones  At  Famous 
IJFour  new  pictures  are  in  work  at  the 
Famous     Players-Lasky     Long     Island 


studios.  Joseph  Henabery  is  directing 
"Tongues  Of  Flame"  with  Thomas 
Meighan  starring.  Faxon  Dean,  A.  S. 
C,  will  be  at  the  camera.  "The  Swan" 
featuring  Elsie  Ferguson  is  being  di- 
rected by  Dimitri  Buchowetzki  with 
Alvin  Wyckoff  on  the  photographic  end. 
Richard  Dix's  second  starring  picture, 
"Jungle  Law"  which  Paul  Sloan  is  di- 
recting is  being  photographed  by  Hal 
Rosson.  Allan  Dwan  is  directing  "Ar- 
gentine Love"  starring  Bebe  Daniels,  the 
camera  work  of  which  will  be  in  the 
hands  of  Roy  Hunt. 


October,  1924 


AMERICAN     CINEMATOGRAPHER 


Seventeen 


J.  T.  COSMAN 

Sole  Agent  for 


Raw  Stock 

Negative  -  Positive  -  Extra  Rapid  -  Dupe  Stock 


MAIN  OFFICE 
1540  Broadway 
New    York   City 


HOLLYWOOD  OFFICE 
6370  Santa  Monica  Blvd. 
Leon  Schlesinger,  Mgr. 


PIONEERING    NEW   CANYON 
PARADISE 

(Continued  from  page  6) 

production,  and  here  we  were  con- 
fronted with  one  of  the  most  grotes- 
que and  amazingly  colored  settings 
which  it  has  ever  heen  my  pleasure  to 
view. 

Brice  Canyon  is  a  basin  consisting 
of  about  14,500  acres  of  an  incon- 
ceivable mass  of  gorges,  pinnacles  and 
minerats  of  all  descriptions,  varying 
from  fifty  to  1000  feet  in  height, 
very  vividly  colored  from  red  to 
white.      Brice    Canyon    obtained    its 


name  around  1900,  from  a  ranch 
owner,  named  Brice,  whose  ranch 
included  this  basin  and  who  used  the 
basin  as  a  corral  for  holding  stock 
during  his  round-ups.  It  has  been 
recognized  as  a  National  Monument 
only  during  the  past  3  or  4  years.  We 
found  it  necessary  to  build  stairs  and 
trails  down  the  walls  of  this  canyon 
in  order  to  enter  it  to  photograph. 

Tom  Mix,  wielding  the  saw  and 
hammer,  built  and  installed  a  set  of 
stairs  leading  down  to  the  first  steep 
incline  from  the  rim  of  the  canyon. 
From  the  foot  of  the  stairs  to  the 
floor  of  the  canyon,     a     distance  of 


about  1000  feet,  we  dug  steps  and 
trails,  which  enabled  us  to  enter  with 
comparative  safety. 

Good    Base 

The  Union  Pacific  operates  a  camp 
at  the  rim  of  the  canyon  (an  eleva- 
tion of  about  8700  feet)  where  very 
good  accommodations  can  be  obtained. 
We  found  the  people  in  that  section 
to  be  very  accommodating  and  willing 
to  help  us  in  every  way  they  could. 

I  have,  by  no  means,  described  Zion 
and  Brice  Canyons  as  picture  back- 
grounds but  I  believe  that  their  pos- 
sibilities are  unlimited. 


A.  S.  C.  OCCUPIES  OFFICES 

(Continued  from  page  5) 

motion  pictures,  Edison  had 
at  his  disposal  a  film  that 
would  take  pictures  at  the  rate 
of  20  to  40  minutes  per  sec- 
ond. It  was  then,  in  1889, 
that  the  first  motion  picture 
camera  is  recorded  as  having 


been  made.  The  original 
means  of  viewing  such  pic- 
tures were  through  a  peephole 
in  a  machine  called  the  "Kin- 
etoscope." 

It  was  later  that  the  Edison 
organization  built  what  is 
generally  said  to  be  the  first 
s  t  u  d  i  o— "Black    Maria"— 


which  was  a  rectangular 
wooden  structure  with  a  mov- 
able roof  that  could  be  raised 
or  lowered  at  will.  It  was  in 
the  early  studios  similar  to 
these  that  the  motion  picture 
camera  was  nailed  to  the 
floor,  and  the  cast  required  to 
act  before  it  accordingly. 


Eighteen 


AMERICAN     CINEMATOGRAPHER 


October,  1924 


An  Announcement 

The  Bell  &  Howell  Company  is  pleased  to  announce  the 
nature  of  the  new  and  improved  features  on  their  standard  motion 
picture  cameras,  about  which  there  has  been  considerable  conjecture. 

An  entirely  new  focusing  arrangement  permits  the  camera,  with 
three  simple  operations  performed  from  the  outside,  to  be  focused 
either  directly  upon  the  film  or  upon  a  ground  glass,  without  shifting 
any  part  of  the  camera,  without  swinging  the  lens  out  of  position  or 
moving  any  of  the  front  vignetting  attachments.  The  image  remains 
in  an  upright  position. 

Another  feature  is  the  removable  aperture,  permitting  the  sliding 
in  of  masks  which  are  nearer  the  focal  plane  than  possible  heretofore 
with  any  camera. 

Present  owners  will  be  pleased  to  know  that  Bell  &  HOWELL 
cameras  now  in  use  may  be  remodeled  to  embody  these  new  improve- 
ments, thereby  making  it  possible  for  them  to  enjoy  the.  benefits  of 
these  new  and  wonderful  feats  of  motion  picture  engineering  without 
the  necessity  of  discarding  their  older  models. 


1801  LARCHMONT  AVE. 
CHICAGO. 


AMERICAN  CINEMATOGRAPHER 
LED  FIGHT 

(Continued  from  page     8) 

This  great  industry  is  now  receiving  the  unflattering  at- 
tentions of  promoters,  previously  bestowed  upon  the  auto- 
mobile, oil  and  other  older  industries- 

"With  the  acceptance  of  Will  H-  Hays  of  the  high 
executive  position  of  President  of  the  Motion  Picture 
Producers  and  Distributors  of  America,  Inc.,  the  public 
very  generally  began  to  'clear'  through  his  office  its  com- 
plaints and  criticisms  with  regard  to  sharp  practices  being 
employed  by  certain  stock  promoters,  acting  schools  and 
scenario  schools.  In  order  that  the  best  attention  and 
the  most  expert  handling  of  such  complaints  might  Be 
obtained,  Mr.  Hays  sought  and  obtained  the  services  of 
the  National  Vigilance  Committee  of  the  Associated  Ad- 
vertising Clubs  of  the  World,  and  the  Better  Business 
Bureaus  in  the  leading  cities  of  the  country,  which  are 
affiliated  with  the  National  Vigilance  Committee. 

"The  work  of  the  fraudulent  movie  promoter  is  virtu- 
ally standardized  in  obtaining  the  support  of  the  Cham- 
bers of  Commerce.  He  enters  a  city  and  visits  one  of  the 
leading  citizens  who  has  a  more  or  less  attractive-looking 
daughter.  He  tells  the  citizen  that  his  company  is  going 
to  make  this  particular  community  its  home.  The  climate 
is  ideal  and  the  scenery  is  wonderful.  Local  talent  will 
be  used  exclusively,  says  the  promoter. 

"Other  leading  business  men  of  the  community  have 
more  or  less  talented  sons  and  daughters,  and  even  wives, 
and  it  is  no  great  task  for  the  fraudulent  movie  promoter 
to  unload  his  worthless  stock  on  an  unsuspecting  com- 
munity. Conditions  are  more  favorable  to  a  movie  pro- 
moter than  to  any  other  type  of  fraudulent  stock  salesman. 


Movie  fans,  especially  women,  feel  that  they  are  an  in- 
tegral part  of  the  motion  picture  industry.  They  go  fre- 
quently to  see  their  favorite  screen  actor  or  actress  and  in 
this  manner,  to  their  way  of  thinking,  they  become  a  part 
of  the  industry  itself. 

"Therefore,  the  fraudulent  promoter  finds  it  an  easy 
task  to  unload  stock  in  a  company  that  never  intends  to 
market  its  product  and  could  not  market  it  were  it  capable 
of  filming  a  story.  The  oil  promoter  does  not  have  the 
psychology  of  a  beautiful  daughter  in  his  favor.  The 
staid  business  man  can  see  no  romance  in  placing  a  beau- 
tiful daughter  on  an  oil  derrick,  but  he  does  fall,  and  falls 
hard,  for  the  prospect  of  seeing  his  daughter  on  the  silver 
screen. 

"The  three  leading  branches  in  which  the  majority  of 
fraudulent  promotions  and  advertising  is  being  perpe- 
trated in  the  motion  picture  industry  include  stock  pro- 
motions, scenario  schools  and  acting  schools. 

"In  regard  to  fraudulent  promotions  it  is  safe  to  say 
that  a  producer  who  is  seeking  funds  to  finance  the  pro- 
duction of  a  picture  or  pictures,  cannot  offer  a  safe  invest- 
ment unless  he  can  show  a  'releasing  contract'  for  his 
picture  when  completed-  Unless  proper  arrangements  for 
distribution  of  the  picture  after  its  completion  have  been 
made,  there  is  small  possibility  of  an  investor  getting  back 
the  cost  of  the  production,  to  say  nothing  of  the  prospect 
of  obtaining  a  profit- 

"Scenario  schools  predicate  the  selling  of  their  service 
on  the  theory  that  individuals  can  be  taught  to  write 
scenarios  which  will  be  accepted  by  producers  of  motion 
pictures.  For  this  service  they  charge  from  $25  to  $150. 
Scenario  writing  is  not  dependent  upon  instructions  for 
success,  but  upon  ideas,  intelligence  and  imagination.     A 


October, 1924- 


AMERICAN     CINEMATOGRAPHER 


Nineteen 


scenario  can  be  written  on  a  cuff.  The  development  of 
this  scenario  by  the  motion  picture  producer  may  be  a 
very  complicated  process,  as  is  the  case.  There  have  been 
isolated  cases  where  students  of  such  schools  have  had 
their  scenarios  actually  produced,  but  this  outcome  has 
been  brought  about  by  intense  study  on  the  part  of  the 
student  and  not  by  the  payment  of  money  to  the  scenario 
school. 

"Certain  agencies  which  hold  out  prospective  employ- 
ment in  motion  pictures  to  the  general  public,  state  that 
such  employment  may  be  obtained  by  taking  the  acting 
course  which  they  offer  at  a  price.  The  producers  have 
undertaken  to  state  that  none  of  these  agencies  has  any 
influence  in  the  matter  of  obtaining  positions  for  their 
'students.' 

"There  is  a  distinct  surplus  of  applicants  for  minor 
roles  in  pictures  and  the  only  way  in  which  employment 
can  be  obtained  is  by  registering  with  the  casting  director 
at  the  various  studios.  Careful  investigation  by  the  pro- 
ducers has  disclosed  the  fact  that  these  schools  do  not 
serve  any  useful  purpose. 

"In  handling  these  situations,  it  is  important  that  local 
Chambers  of  Commerce  and  similar  citizen-organizations 
co-operate  with  us  and,  further,  keep  in  close  contact  with 
the  newspapers  in  their  communities.  Newspapers  can 
be  of  great  service  in  confining  thir  columns  to  the  publi- 
cation of  items  and  advertisements  concerning  propositions 
which  have  stood  the  test  of  investigation." 


MAKING  MOTION  PICTURE  TITLES 

(Continued  from  page   9) 

is  possible  to  photograph  on  to  the  emulsion  surface  with- 
out employing  a  prism  by  reversing  the  transparency  before 
the  illuminator. 

Since  it  is  often  necessary  to  prepare  titles  from  white 
card  copy  submitted  it  is  desirable  that  the  title  making 
apparatus  should  be  adapted  for  photographing  either  by 
reflected  or  transmitted  light. 

The  Copy 

The  reading  matter  to  be  photographed  may  be  set-up 
in  various  ways  as  follows : 

1.  By  arranging  black  or  white  letters  cut  out  of 
metal,  cardboard,  celluloid,  etc.,  in  parallel  grooves  on  a 
board  or  other  support. 

An  ingenious  method  of  preventing  easy  displacement 
of  the  letters  is  by  using  magnetized  metallic  letters  on 
a  metal  support.  Titles  composed  in  this  manner  cannot 
be  conveniently  filed  away,  but  must  be  reset  if  a  retake 
is  necessary  after  a  prolonged  interval. 

2.  A  modification  of  method  1,  is  employed  by  one 
of  the  largest  title  making  concerns*.  Individual  letters 
(black  letters  on  a  white  background)  are  photographed 
on  to  small  rectangular  sheets  of  film  and  copy  is  then 
set-up  by  fitting  the  sheet  film  letters  in  grooves  in  a 
frame  which  is  then  photographed  by  transmitted  light. 
The  film  letters  in  the  frame  (white  letters  on  black  back- 
ground) are  allowed  to  overlap  slightly  so  as  to  obliterate 
the  lines  of  contact.  Negative  titles  are,  therefore,  made 
directly  by  a  single  copying.  This  method  has  the  addi- 
tional advantages  that  any  size  of  specially  designed 
lettering  is  readily  secured  by  simply  copying  the  artist's 
drawing;  photographic  copy  may  be  inserted  in  the  frame 
in  place  of   part  of  the  lettering;   while  the   pressman's 

"Titling    Simplified,"    Exhibitors    Herald,    May    24,     1924,    P.    49. 


CM*t 


announces    a    new    lens    for    cinematography, — the 
/:2.7  Tessar. 

The  new  objective  renders  the  same  remarkable 
definition  that  has  always  been  characteristic  of 
Carl  Zeiss  Tessars.  Its  extreme  rapidity  will  make 
the  /:2.7  Tessar  about  the  most  popular  of  all  lenses 
for   motion    picture   photography. 

They  will  be  ready  for  delivery  in  the  near 
future.  Orders  placed  now  will  be  filled  from  the 
first  shipment. 


\y&    inch $40.00 

\y2    inch $40.00 


inch $43.00 

A    inch $51.00 


Harold  M.  Bennett 

U.  S.  AGENT 

153   W.  23d   St.,   New  York 


Twenty 


AMERICAN     CINEMATOGRAPHER 


October,  1924 


labor  involved  in  the  operation  of  printing  the  usual  title 
card  is  eliminated. 

3-     By  hand  lettering- 

4.  By  printing  either  with  hand-set  or  machine-set 
type  on  paper  or  card.  Black  letters  on  a  white  ground 
are  required  for  direct  titles  and  white  letters  on  a  black 
ground  for  negative  titles.  Aluminum  bronze  or  silver 
leaf  is  often  used  in  place  of  white  ink. 

An  alternative  method  of  securing  white  letters  on  a 
black  background  is  to  print  with  black  lettering  on  a 
translucent  support,  such  as  tissue  paper  or  oiled  paper; 
then  use  this  as  a  negative  and  make  a  photographic  print 
on  glossy  paper.  By  using  a  contrasty  paper  and  fully 
developing  the  grain  of  the  paper  negative  may  be  largely 
eliminated. 

Type  matter  may  also  be  set  up  on  a  "multigraph"  ma- 
chine consisting  of  a  cylindrical  drum  fitted  with  grooves 
on  the  periphery.  The  type  matter  is  first  assembled  on 
a  "pencil"  and  then  transferred  to  the  grooves  on  the 
drum. 

5.  By  printing  as  in  No.  4  on  a  transparent  support, 
such  as  film  base,  waxed  paper,  etc.  In  order  to  deter- 
mine the  best  medium  and  the  relative  effect  secured  with 
different   media    the    following   experiments   were   made : 

Using  the  various  supports  outlined  below  increasing 
exposures  were  given  with  each  support  and  the  resulting 
exposures  developed  for  a  constant  time.  The  title  was 
then  selected  which  just  showed  signs  of  "Filling-in."  This 
represented  the  most  contrasty  title  which  it  was  possible 
to  make  with  the  particular  support.  The  density  of  the 
background  was  then  measured.  The  results  obtained 
were  as  follows: 


FOR  RENT! 


Bell  &  Howell  Cameras 

COMPLETE  EQUIPMENT 
40,    50,    75    M.    M.   Lenses  170    Shutters 

J.  R.  LOCKWOOD 

523    North   Orange   St. 


Phone  Glendale   336  1 -W 


Glendale,  California 


FOR  SALE 

BELL   &    HOWELL  OUTFIT 
Camera,      Tripods,       Improved      Thalhammer   Iris,    Six 
Magazines,    40    mm.,    50    mm.,    75    mm.    and     110   mm. 
Lenses,     also     Verito     75     mm.,     Carrying     Cases     and 
Trunk. 

Outfitted    to    Satisfy    the    Most    Exacting 

Right  price  and  right  terms  to  right  party. 

Call  J.   A.   Dubray,   5448  Virginia  Ave. 
Phone  433-305 

Los    Angeles 


SPEED!   SPEED!  SPEED! 

The  Bausch  &  Lomb  Ultra 
Rapid  Anastigmat  is  an 
f:2.7  lens.  This  not  only  is 
its  rated  speed,  it  is  the 
speed  at  which  it  actually 
performs. 

Bausch  £§f  Lomb  Optical  Co. 

Newt   York     San  Francisco     Washington     Chicago 
Boston  Rochester,  N.  Y.  London 


CRECO 


BASS 


CHICAGO 


Buys,     Sells,     Exchanges     Cameras,     Printers,    Lenses 

Complete    Stocks 

Cash    for    Bell    &    Howell    and    De    Brie    equipment 

Catalog   Free 

Bass  Camera  Company 

109-AC    North    Dearborn,    Chicago,   111. 


Cinema  Studios  Supply  Corp. 

1438    Beach  wood     Drive 

Holly   0819 

LIGHTING    EQUIPMENT    FOR    RENT 

L.   A.  FIRE  DEPARTMENT 
WIND   MACHINES  Water  Engine 


October,  1924 


AMERICAN     CIN  EMATOGRAPHER 


Tiuenty-one 


WINFIELD-KERNER 

STUDIO 

LIGHTING  EQUIPMENT 

OUR  NEW 

ROTARY  SPOT  LIGHT 

Is  Second  to  None 

Ask  for  Demonstration 

Al.  De  Bus 

"The  Heavylite  Man" 
Los  Angeles  County  Distributor 

Winfield-Kerner  Products 

Factory:  Hollywood  Office: 

323-27    East    6th    Street       6725-55    Santa   Monica    Blvd. 
Phone    VAndike    6211  Phones:   GRanit  9601,  GRanit  9402 

Night   Phone  GRanit   4864 


Nature  of  Support 
Tissue  paper 


Pattern  of 
cloth   reproduced 


Background  Density         Remarks 

118  grainy 

Onion  Skin  paper  1.44 

Oiled  Tissue  paper  1.48 

Oiled  Onion  Skin  paper  1.50 

Tracing  Cloth  1.20 

Film  Support  with  dusted  letters  1.66 
White  paper    (reflected  light)      1.33 

From  the  table  it  is  seen  that  dusted  lettering  on  film 
support  gives  the  most  contrast  and  this  method  of  pre- 
paring transparent  titles  is  recommended.  The  "film 
title  cards"  are  prepared  by  printing  with  "celluloid  ink" 
(a  quick  drying  ink  of  special  consistency)  on  to  Kodaloid 
and  while  the  ink  is  still  wet,  very  fine  carbon  black  is 
brushed  over  with  a  fine  camel  hair  brush.  When  the 
ink  is  thoroughly  dry  the  excess  lamp  black  is  brushed  off 
and,  if  necessary,  the  residual  traces  are  removed  by  brush- 
ing with  a  soft  piece  of  plush.  Very  great  care  in  printing 
is  necessary  to  secure  satisfactory  impressions  on  celluloid. 
Titles  on  oiled  onion  skin  paper  are  more  easily  prepared 
and  give  satisfactory  results  providing  the  slight  resulting 
graininess  of  the  background  is  not  objectionable.  Printed 
matter  on  waxed  or  oiled  onion  skin  paper  may  be  dusted 
with  carbon  black  in  the  above  manner  in  order  to  increase 
the  capacity  of  the  lettering  although  it  is  not  always 
possible  to  thoroughly  remove  the  excess  black  without 
smearing  the  clear  paper. 

For  the  sake  of  economy  the  title  card  should  not  be 
too  large  although  an  8x10  card  with  the  printed  matter 
fitted  in  an  area  6"x4j^"  is  convenient.  The  typesetter 
should  always  keep  within  a  rectangle,  whose  sides  are  in 


/  Cameras  ! 


The  most  complete  and  expensive  line 
of  Motion  Picture  and  Still  Cameras  for 
rental  purposes  in  Hollywood. 

Expert  Cinematographers  furnished 
with  slow  motion  and  Akeley  cameras. 

New,  modern,  up-to-date  still  finishing 
department. 

We    specialize    in    reproductions. 


6035    HOLLYWOOD  BLVD. 

Phone   HOlly   4338 

PARK   J.    RIES A.    S.    C. 


TITLES 


ART  BACK 
GROUNDS 


FOR  RENT 

Two  Bell  and  Howell  Cameras,  40,  50,  75  mm. 
lenses,  Thalhammer  iris.  Jean  Trebaol,  Jr.,  7042 
itilson   Street,    Palms,   Calif.      Telephone   761-243. 


EG33 


TELEPHONE 
HE   MPSTD   8761 


INTERNATIONAL   KINEMA    RESEARCH 


LOU    HOWLAND 


Hollywood    Security  Bldg. 


Twenty-t<wo 


AMERICAN     LlNEMATOGRAPHER 


October,  192-t 


SOMETHING  WORTH  CONSIDERING 


The  new  Debrie  Interview  Camera,  model  "E"  complete  with 
outside  focusing  and  diaphragm  rods,  stop  motion  crank,  film  re- 
verse, direct  focusing  tube,  direct  view  finder,  adjustable  shutter 
opening,  brass  hinges  to  hold  front  of  camera  open  while  loading, 
quick  lens  changing  device,  two  inch  F3.5  Tessar  lens,  two  four  hun- 
dred foot  magazines  and  case  for  Camera,  $500.00. 

Just  the  camera  for  the  newsman,  and  general  all  around  work. 


MOTION  PICTURE  APPARATUS  CO.,  INC. 

118  West  44th  Street,  New  York  City 
U.  S.  AND  CANADA  AGF.NTS  FOR  DEBRIE  APPARATUS 


the  proportion  of  4:3.     The  modern  tendency  is  to  elimi- 
nate borders  of  any  description. 

In  case  the  titles  are  set  up  in  type,  the  selection  of  a 
suitable  type  face  is  a  matter  for  careful  considerations. 
It  should  preferably  be  bold  in  order  to  lessen  the  tendency 
of  the  letters  to  "fill  in."  Suitable  type  faces  are  Souvenir, 
Cheltenham  Bold,  Rugged  Roman,  Kennedy,  Packard, 
and  Cloister  Italic  supplied  by  the  American  Type  Found- 
ers Association.  Many  producers  employ  type  specially 
designed  to  suit  their  individual  requirements.  A  selection 
of  18-36  point  type,  upper  and  lower  case  is  sufficient  for 
most  purposes- 
Type  setting  is  an  art  in  itself  and  does  not  come  within 
the  scope  of  this  article*- 

An  apparatus  for  making  titles  consists  essentially  of  a 
track  supporting  a  camera  and  easel  which  in  turn  holds 
the  title  card.  The  fundamental  requirements  are  that  the 
title  card  should  be  adjustable  both  vertically,  horizon- 
tally, and  by  rotating  in  a  vertical  plane  while  the  dis- 
tance between  the  camera  and  easel  should  be  variable  so 
as  to  accommodate  cards  of  different  sizes.  The  best 
arrangement  is  one  which  permits  of  moving  the  camera 
on  a  bed  in  the  direction  of  the  easel,  while  all  other 
adjustments  should  be  attached  to  the  easel.  A  simple 
and  effective  bench  consists  of  two  parallel  concrete  walls 
about  4'6"  high,  along  the  top  of  which  iron  runners  are 
fitted,  while  the  camera  carriage  is  bridged  across  the 
walls.  Details  for  constructing  a  fully  adjustable  easel 
are  given  by  the  author  and  C.  E.  Ives*. 


FOR  SALE 

Pathe  No.    1110,  completely  equipped  with  six  maga- 
zines,   tripod,    tilt    head,     mats     and     vignettes   of 
every  description.      Guaranteed  in  perfect  shape. 
40,  50  and  85  mm.  lenses.      Bargain. 
JAMES  C.  VAN  TREES 
American   Society  of  Cinematographers 


SCHEIBE'S  PHOTO-FILTER  SPECIALTIES 

Are  now  popular  from  coast  to  coast,  and  in  some 
foreign  countries. 

If  my  many  varieties  do  not  always  fill  the  bill,  tell 
me  your  wants  and  I  will  make  them  on  special  order. 

Always  at  your  service. 

GEO.  H.  SCHEIBE 

1636  Lemoyne  St.  DUnkirk  4975      Los  Angeles,  Cal. 


by     E.     G. 


"Typography     of     the    Movies, 
62:2s     (1917). 

"Improvements     in     Motion     Picture     Laboratory     Apparatus 
S.  M.   P.   E.,   No.    18,    1924. 

(Continued  next  month) 


Gress,     The    American    Printer, 
Transactions, 


IfALTElllVANRpSSEM 

6049  Hollywood  Blvd. 
Phone  Holly  725 


COMMERCIAL  PH0TOGIy\PHY 

Still  Developing  and  Pi-inlincf" 
bHoicBCQmaas-FOa  RENT—  Still 


October,  192J 


AMERICAN     CINEMATOGRAPHER 


Twenty-three 


Len  H*  Roos 
New  A.S.C.  Member 


Ace   Cinematographer   Has 
Brilliant    Record    in    Many 
Departments  of  Profession 


Len  H.  Roos 


Right:  Shows  Roos  high  up  in 
the  Canadian  Rockies  while 
filming  a  recent  production. 


Len  H.  Roos  has  been  elected  a  member  of  the  American 
Society  of  Cinematographers,  it  is  announced  by  the 
Society. 

Roos  has  been  a  cinematographer  for  the  past  ten 
years  and  his  career  has  been  one  of  the  most  active  in 
the  profession.  He  started  at  the  business  in  the  laboratory 
end  of  the  game,  and  his  ability  is  attested  to  by  the  fact 
that  not  only  is  he  an  ace  cinematographer  but  he  has 
installed  and  managed  five  laboratories. 

At  the  present  time,  Roos  is  connected  with  the 
Educational  Division  of  the  Fox  Film  Corporation  and 
is  working  in  British  Columbia  with  headquarters  in 
Vancouver.  Some  of  the -most  beautiful  films  ever  to 
reach  the  screen  are  those  which  Roos  is  producing  in 
his  affiliation  with  the  Fox  organization. 

Among  Roos'  earlier  releases  are  "When  Husbands 
Go  to  War,"  "And  Then  He  Came  Straight  Home," 
"War  of  Too  Soon,"  "A  Jitney  Submarine"  and  "Kisses 
Are  Sweet,"  all  of  the  Atlas  Motion  Picture  Company 
of  Detroit.  Subsequently  he  joined  the  Canada  Film 
Company  for  which  he  made  "Self  Defense"  and  "Across 
Canada,"  both  features. 

Then    Roos   became     identified     with    C.    L.    Chester 


Productions,  Inc.,  for  which  he  made  the  following 
Chester-Outing  scenics:  "Trail  of  the  Snowshoe,"  "One 
Peek  Was  Plenty,"  "Going  Up  for  Ice,"  "Bowling 
Down  Big  Bend,"  and  "Down  the  Columbia." 

After  this  he  was  for  one  year  editor  of  the  film  edition 
of  the  Detroit  Free  Press. 

He  then  went  to  Toronto  where  he  organized  the  Ca- 
nadian Fox  News  and  served  a  year  as  Canadian  editor. 

There  came  then  the  making  of  "Big  Game  Hunting 
in  Florida  Everglades,"  for  G.  E.  Miller  productions, 
after  which  Roos  made  three  story  scenics  in  his  own 
name,  "Enlightening  Aunt  Ellen,"  "Calling  on  Louise" 
and  "Jewel  of  the  Hills." 

For  Fox  Educational,  Roos  filmed  "Canadian  Alps" 
and   "The   Fur  Trapper." 

He  was  the  cinematographer  in  charge  of  producing 
"The  Canadian  Soldier,"  a  photographic  record  for  the 
archives  of  the  Canadian  government  of  camps  and  train- 
ing of  soldiers  during  the  war. 

In  addition,  Roos  has  served  as  staff  correspondent 
for  the  folowing  news  reels :  Pathe  News  at  Atlanta,  Ga. ; 

(Continued  on  page  26) 


T<wenty-six 


AMERICAN      CINEMATOGRAPHER 


October,  1924 


Norbert  F.  Brodin,  A.  S.  C, 

Star  Role  as  Benedict 


in 


Milton  Sills,  center,  and  Mr.  and  Mrs.  Norbert  Brodin. 

More  than  a  score  of  Hollywood's  leading  film  stars 
attended  the  marriage  ceremony  of  Miss  Catherine  Fer- 
guson, sister  of  Helen  Ferguson,  prominent  young  film 
star,  and  Norbert  F.  Brodin,  A.  S.  C,  cinematographer 
for  "The  Sea  Hawk"  and  other  Frank  Lloyd  Produc- 
tions at  the  Wilshire  Boulevard  Christian  Church  last 
month.  The  marriage  nuptials  were  performed  by  the 
Rev.  M.  Howard  Fagan.  Miss  Helen  Ferguson,  who 
came  from  a  motion  picture  location  in  Colorado  for  the 
occasion,  acted  as  her  sister's  maid  of  honor  and  Frank 
Lloyd,    producer-director,    was    Mr.    Brodin's   best   man. 

Among  the  film  notables  who  attended  were  Mr.  and 
Mrs.  Frank  Lloyd,  Mr.  and  Mrs.  Milton  Sills,  Mr.  and 
Mrs.  Douglas  MacLean,  William  Russell,  Virginia 
Valli,  Carmelita  Geraghty,  Mr.  and  Mrs.  Wallace  Beery, 
Mrs.  Harold  Lloyd,  Rod  LaRocque,  Mr.  and  Mrs. 
Lloyd  Hughes  and  members  of  Hollywood's  girl  star 
club,  "Our  Club,"  of  which  Mary  Pickford  is  honorary 
president. 

After  a  brief  honeymoon  in  Northern  California,  the 
Brodins  will  be  at  home  at  1249  Fairfax  avenue,  Los 
Angeles. 


LEN  H.  ROOS  NEW  A.  S.  C.  MEMBER 

(Continued  from  page  23) 
Selig-Tribune,   Chicago ;  Kinograms,   Montreal  and  To- 
ronto; Selznick  News  and  Fox  News,  British  Columbia. 
For  a  year  and  a  half  he  produced  the  Canadian  Topical 
Review  in  Toronto  each  week. 

While  producing  Chester-Outings  for  C.  L.  Chester 
Productions  in  1920,  Roos  went  down  the  full  length 
of  the  Columbia  River  (from  headwater  in  Canada  to 
tidewater  in  Oregon)  in  a  16-foot  rowboat  with  one  com- 
panion. Roos  and  his  companion  are  believed  to  be  the 
only  persons  alive  who  have  ever  accomplished  this  feat. 

Roos  is  a  specialist  in  panchromatic  scenic  work. 
Among  his  specializations  have  been  scenic  introduction 
and  atmosphere  panchromatic  work  for  Reginald  Barker 
productions  and  special  assignments  for  Karl  Brown, 
A.  S.  C,  for  work  on  James  Cruze  productions  for  Para- 
mount. Because  of  his  wide  experience  in  that  section, 
Roos  is  regarded  as  an  authority  on  northwestern  and 
Canada  locations. 


Moods  and  Color  to  Match; 

What  Says  the  Cinematographer? 

Norma  Shearer,  who  is  playing  the  leading  feminine 
role  in  "The  Snob"  which  Monta  Belle  is  directing  for 
Metro-Goldwyn-Mayer,  wears  clothes  according  to  her 
mood,  aver  Messrs.  Charles  Condon  and  Howard  Strick- 
ling. 

"Not  only  on  the  streets  but  in  pictures  as  well,"  says 
Miss  Shearer.  "I  wear  not  only  the  shades  which  are 
most  becoming,  but  also  those  which  put  me  in  the  mood 
I  desire." 

"Sophie  Wachner,  the  designer  at  the  Metro-Gold- 
wyn-Mayer stuido  got  me  tremendously  interested  in  the 
psychology  of  color  by  telling  me  just  what  I  should 
wear  and  I  have  found  her  theory  is  absolutely  correct. 
Rose  and  pink  make  me  tremendously  happy,  so  when  I 
want  to  be  cheery  on  or  off  the  screen  I  choose  them. 
The  former  photographs  dark  and  the  latter  white. 
Several  times  when  I  have  been  inveigled  into  wearing 
wrong  shades  it  has  made  all  the  difference  in  the  world 
in  my  temperament,  so  from  now  on  on  I  intend  going 
absolutely  according  to  the  law  of  colors." 


Herbert  Hoover,  Secretary  of  Commerce,  was  the  guest 
of  Louis  B.  Mayer,  and  saw  the  entire  workings  of  that 
producer's  big  studio  during  his  visit  to  Los  Angeles. 

Mr.  Mayer  toured  Secretary  Hoover  through  every 
department  of  the  huge  Metro-Goldwyn-Mayer  plant. 
Hoover  was  tremendously  interested  in  the  laboratory, 
the  costume  and  property  departments,  and  the  building 
of  the  big  sets.  It  was  the  first  visit  he  had  ever  made 
to  a  film  studio. 

He  also  saw  "The  Great  Divide"  and  "The  Snob"  in 
the  making,  and  on  the  latter  set  met  Monta  Bell,  whom 
he  had  known  in  Washington.  Bell  was  managing  editor 
of  the  Washington  Herald  before  Hoover  bought  the 
publication.     He  is  now  directing  "The  Snob." 


Bell  and  Howell  camera,  No.  One,  with  Jackson  J.  Rose, 

A.  S.  C,  at  the  crank,  at  the  old  Essanay  Studios,  Chicago, 

in  1910.    Announcements  carry  news  of  important  rt-anges 

\n   new  Bell  and  Howells 


HOW  TO  LOCATE  MEMBERS  OF  THE 

American 
Society  of  Cinematographers 

Phone  GRanite  4274 
OFFICERS 

Gaetano  Gaudio -------         President 

Gilbert  Warrenton  -----------  Vice-President 

Karl  Brown  .------------       Vice-President 

Homer  A.  Scott -  Vice-President 

Charles  J.  Van  Enger ------        Treasurer 

Victor  Milner  ----- Secretary 

BOARD  OF  GOVERNORS 

Victor  Milner  Homer  A.  Scott  King  D.  Gray 

Philip  H.  Whitman  Fred  Jackman  Reginald  Lyons 

James  C.  Van  Trees  Charles  J.  Van  Enger  Paul  P.  Perry 

Frank  B.  Good  Gaetano  Gaudio  John  F.  Seitz 

H.  Lyman  Broening  Gilbert  Warrenton  Karl  Brown 

Abel,  David — with  Warner  Brothers.  Kurrle,  Robert — with  Edwin  Carewe,  United  Studios. 

Arnold,  John — with  Metro-Goldwyn-Mayer  Picture  Corp.  Landers,   Sam — with   First   National,    United   Studio. 

Barnes,  George  S. — with  Cosmopolitan.  Lockwood,    J.    R. — 

Beckway,    Wm. —  Lundin,    Walter — with  Harold   Lloyd   Prodsctions,   Hollywood   Studios. 

Benoit,  Georges — with  Colorado  Pictures.  Lyons,    Reginald    E. — with    Fox    Studio. 

Broening,   H.    Lyman — ■  MacLean,  Kenneth  G. — with  "Ben-Hur,"  Rome,  Italy. 

Boyle,  John  W. — with  Metro-Goldwyn-Mayer  Picture  Corp.  Marshall,  Wm. — with  Carlos  Prods. 

Brodin,  Norbert  F. — Frank  Lloyd  Productions,  First  National,  United  Meehan,  George — with  Henry  Lehrman,  Fox  Studio. 

Studios.  Milner,  Victor— with  Joseph  M.  Schenck  Prod. 

Brotherton,  Joseph —  Morgan,   Ira   H.— with    Cosmopolitan. 

Brown,  Karl— with  James  Cruze,  Famous  Players-Lasky.  Norton,  Stephen  S.— with  Universal  Pictures  Corp. 

Clark,    Dan— with   Tom   Mix,    Fox   Studio.  Overbaugh,   Roy  F.— New   York  City. 

Cowling,   Herford   T. — Travel   Pictures,   Asia.  Palmer,    Ernest   S. 

Cronjager,  Henry — with  Famous  Players-Lasky,  New  York  City.  Perry,    Harry ■ 

Dean,   Faxon  M. — with  Famous  Players-Lasky,   New   York  City.  did 

Doran,    Robert   S.— with   Hal   Roach   Studio.  V"ry'  Faul   *; 

Dored,  John — Riga,  Latvia.  Polito,  Sol — with  Hunt  Stromberg  Productions. 

Dubray,  Joseph  A. —  Ries,    park   J  — 

DuPar,  E.  B. — Stereoscopic  Prod.  Co., Sacramento,  Calif.  Rizard,  George — New  York  City. 

DuPont,   Max   B. — Tahiti.  Roos,  Len  H.  — Leigh-Spencer  BIdg.,  Vancouver,  B.  C. 

Edeson,  Arthur — with  First  National,  United  Studios.  Rose,  Jackson  J.— Clarence  Brown,  Universal. 

Evans,    Perry —  Rosher,    Charles — with    Mary    Pickford,    Pickford-Fairbanks    Studio. 

Fildew,  Wm. —  Schneiderman,    George — with   Fox   Studio. 

Fisher,   Ross  G. — with   A.  J.   Brown   Productions,   Russell  Studio.  Scott,  Homer  A. — First  National.  United  Studios. 

Gaudio,  Gaetano — with  Norma  Talmadge,  Joseph  Schenck  Productions.  Seitz,   John   F. — with  Rex  Ingram. 

United   Studio.  Sharp,   Henry — with   Thomas   H.   Ince. 

Gilks,  Alfred — with  Famous  Players-Lasky.  Short,    Don — 

Glennon,  Bert— with  Paul  Bern,  Famous  Players-Lasky.  Smith,    Steve,    Jr.— with   Vitagraph   Studio. 

Good     Frank   B. Steene,    E.   Burton — New   York   City. 

Granville     Fred     L. — directing,       British       International       Corporation,         Stumar,    John — with    Universal    Studio. 

London.  Stumar,    Charles — with   Universal    Studio. 

P          jr-       t-) Tolhurst,    Louis    H. — "Secrets    of    Life,"    Microscopic    Pictures,    Princi- 

C™m'     W  1 1  r  L P3'    P'ctures    Corporation. 

r-    ■      '.     d          '  Totheroh,   Rollie   H. — with  Charlie  Chaplin,   Chaplin  Studio. 

Uuissart,    Kene — ■  t*             t    d    l    .         ■«.!.  t 

Haller,  Ernest-Del  Andrews  Prod.  Turner,  J.  Robert-w.th  Fox. 

Heimerl,  Alois  G.-with  Al  Davis  Prods.  Van    Buren     Ned-New    York   Cty 

Ti            t?i      j         -.u  f    »xt-*:~..~.    rT„:»-J  c*„j:„.  Van  hnger,  Charles — with  hrnst  Lubitsch. 

Jackman,  rloyd — with  rirst  National.  United  btudios.  \r      t          i           n          -*u  f    *  xi  *•        i    tt   ■.  j  c»    j- 

Jackman    Fred   W.-directing.   Hal   Roach   Studio.  Van  Trees,  James  C.-w.thF.rst  Na.onalUn.tedStud.os. 

Jennings!  J.   D.— with   First  National,   United   Studios.  Warrenton,  G.lbert— w.th  Harry  Pollard,  Umversal  C.ty. 

Koenekamp,    Hans   F. — with   Larry  Semon.  Whitman,  Philip  H. — with  Famous  Players-Lasky,  New  York  City. 

Kull,   Edward — with  Universal   Studio.  Wilky,  L.  Guy — with  William  de  Mille,  Famous  Players-Lasky. 

Edison,   Thomas   A. — Honorary   Member. 

Webb,   Arthur  C. — Attorney. 

Meetings   of   the   American   Society   of   Cinematographers   are   held   every  Monday  evening.   On   the   first   and   the   third   Monday  of  each   montn 
the   open   meeting   is   held;    and   on   the   second   and   the  fourth,  the   meeting   of   the   Board   of   Governors. 

1219-20-21  GUARANTY  BUILDING 
Hollywood,  California 

LOYALTY  PROGRESS  ART 


FACTORIES 

■  BOOKLrN.  NEW  TO 
PARI*.  PMANCC 


OF  CALIFORNIA 


LOS  ANGELES.  CA1_. 
August  21,  1?24 


Mr.  H.  J.  Boeger,  President, 
Mitchell  Camera  Company, 
601?  Santa  Monica  Blvd., 
Los  Angeles,  Calif. 


My  Dear  Sir: 


The  David  Smith  Company  has  Just  finished 
shooting  scenes  for  "Captain  Blood,"  a  twelve-reel  super 
special,  in  which  I  used  a  Mitchell  camera  on  every  shot  with 
entire  satisfaction. 

I  believe  we  have  a  record  in  that  over  500,000 
feet  of  negative  was  'exposed  without  a  single  scratch  or  film 
abrasion.   Considering  the  adverse  conditions  under  which  most 
of  the  shots  were  made  I  feel  it  to  be  a'wonderful  performance. 

It  is  my  pleasure  to  enthusiastically  recommend  the 
Mitchell  oamera  to  the  profession. 


Very  truly  youi;8, 


Chief  Cinematographer 
Vitagraph  Company 


CV..V  <-. 


November,  1924 


25  Cents 
A  Copy 


American 
Cinematographer 

Published  by  the  American  Society  of  Cinematographers,  Inc. 


Communications  from  Eastman 
Research  Laboratory 

By  J.  I.  Crabtree 

Eliminate  Death  from 
Air  Cinematography 

By  Harry  Perry,  A.  S.  C. 


PUBLISHED  IN     HOLLYWOOD     CALIFORNIA 


R 

\eleases 

September 

28,   1924,  to  October  26,   1924 

TITLE 

PHOTOGRAPHED  BY 

The  Bowery  Bishop 

A.  G.  Heimerl,  member  A.  S.  C. 

The  Rose  of  Paris 

Charles  Stumar,  member  A.  S.  C. 

Never  Say  Die 

Jack   McKenzie 

The   Clean    Heart 

Steve  Smith,  Jr.,  member  A.  S.  C. 

In   Hollywood  with 

Potash  and  Perlmuttei 

Arthur  Miller  and  Harry  Hollenberger 

Poison 

Not  credited 

The  Fast  Worker 

Ben    Reynolds 

Feet  of  Clay 

Peverell  Marley  and  Archibald  Stout 

The  Painted  Lady 

Alfred  Gosden 

Coyote   Fangs 

William  Thornley 

Find   Your   Man 

Lee  Garmes 

The  Bandolero 

George    Peters 

The  Beauty  Prize 

John  Arnold,  member  A.  S.  C. 

Barbara   Frietchie 

Henry  Sharp,  member  A.  S.  C. 

Not   Built    for   Runnin' 

Jake  Badaracco 

Life  s  Greatest  Game 

Paul  Perry,  member  A.  S.  C. 

Hearts  of  Oak 

Geo.  Schneiderman,  member  A.  S.  C. 

The  Western  Wallop 

Harry   Neumann 

Biff  Bang  Buddy 

Irving  Ries 

The  City  that  Never  Sleeps 

Karl  Brown,  member  A.  S.  C. 

The  Tenth  Woman 

John   Mescall 

The  Cyclone  Rider 

Sid  C.  Wagner 

The  Silent  Watcher 

Norbert  F.  Brodin,  member  A.  S.  C. 

Fast  and  Fearless 

Irving  Ries 

Border  Women 

Not   credited 

Vanity's  Price 

Hal  Mohr 

Dante's  Inferno 

Joe  August 

Meddling  Women 

Frank  Zukor 

For  Woman's  Favor 

Robert  Olson  and  Marcel  Le  Picard 

The  Price  of  a  Party 

John  F.  Seitz,  member  A.  S.  C. 

Her  Love  Story 

George  Webber 

The  Pride  of  Sunshine  Alley 

Art   Reeves 

• 

Vol.  5  NOVEMBER,   1924  No.  8 

American 
Cinematographer 

Foster  Goss,  Editor  and  Business  Manager 
Board  of  Editors — Victor  Milner,  H.  Lyman  Broening,    Karl    Brown,    Philip    H.    Whitman 


Contents 


Page 
Handling  Cine  Film  At  High  Temperatures — 

By  J.  I.  Crabtree 4 

Improvements  in  Cinema  Laboratory  Apparatus — 

By  J.  I.  Crabtree  and  C.  E.  Ives  ....  5 

Eliminate  Death  from  Air  Cinematography — 

By  Harry  Perry,  A.  S.   C.  .'  .  .  .  8 

Boston  Chamber  of  Commerce  Provides  for  Films — 

By  Denny  B.   Goode  ......  9 

The  Editors'  Corner 10 

In  Camerafornia 13 

Making  Motion  Picture  Titles,  — (Conclusion) — 

By  J.  I.  Crabtree  .  .  .  .  .  .  .  16 

A  Tribute  to  the  Cinematographer — 

By  Irving  A.  Eckman  ......  17 

New  Bell  and  Howell  Professional  Model  Out    .        .        25 
A.  S.  C.  Roster  27 


An  educational  and  instructive  publication,  espousing  progress    and   art   in   motion   picture   photography. 

Published  monthly  by  THE  AMERICAN  SOCIETY    OF    CINEMATOGRAPHERS,    Inc. 
Subscription  terms:  United  States,  $3.00  a  year;  Canada,  $3.50  a  year;  foreign,  $4.00  a  year;  single  copies 

25  cents.     Advertising  rates  on  application. 
1219-20-21-22  Guaranty  Building,  Hollywood,  California  Telephone,  GRanitc  4274 

(Copyright,  1924,  by  the  American  Society  of  Cinematographers,  Inc.) 


Four 


AMERICAN      CINEM  ATOGR  APHER 


November,  1924 


Handling   Cine   Film   at  High   Temperatures 


Important  Formulae  Enu- 
merated and  Research  Mat- 
ter Is  Given  Out. 


By  J.  I.  Crabtree 

Eastman    Research    Laboratory 


Difficult  Subject  Discussed 
in  Detail.  How  to  Combat 
Excessive  Heat. 


Special  care  is  necessary  when  handling  motion  picture 
film  at  high  temperatures  when  high  humidities  usually 
prevail  in  order  t  insure  that  the  sensitiveness  of  the  film 
emulsion  shall  remain  unimpaired  hefore  exposure  and 
that  the  latent  image  shall  be  retained  after  exposure  and 
before  development.  Special  treatment  is  also  necessary 
if  development  of  the  exposed  film  must  be  conducted  at 
temperatures  above  70°F.  while  adequate  precautions  must 
be  taken  during  storage  of  the  developed  film  in  warm 
climates,  otherwise  the  keeping  qualities  of  the  film  will 
be  affected. 

^  Effect    of    Temperature    and    Humidity    on    Motion 
Picture  Emulsions. 

A.  Unexposed  Emulsions.  Although  definite  data  are 
not  available  on  the  effect  of  temperature  on  the  speed 
of  dry  unexposed  emulsions,  experience  has  shown  that 
if  the  temperature  of  a  dry  unexposed  film  is  raised,  for 
example,  from  65°F.  to  10OF.,  a  considerable  period  of 
time  must  elapse  before  the  speed  and  fog  are  affected 
to  a  sufficent  extent  to  be  of  practical  importance. 
Renwick1  has  investigated  the  effect  of  humidity  at  con- 
stant temperature  on  the  speed  of  motion  picture  emul- 
sions and  states  that  at  a  temperature  of  65°F.  the  speed 
of  a  film  emulsion  in  equilibrium  with  an  atmosphere 
whose  relative  humidity  varies  between  0  and  80%  may 
vary  50%,  depending  upon  the  particular  emulsion. 

Experience  has  shown  that  with  unexposed  negative 
film  stored  in  an  atmosphere  at  high  relative  humidity, 
say  90%,  and  at  a  high  temperature,  say  90°F.  or  100°F., 
the  speed  of  the  emulsion  rapidly  falls  off  and  the  emul- 
sion becomes  fogged  to  an  extent  depending  upon  the 
period   of   storage. 

B.  Exposed  Emulsions.  In  the  case  of  exposed  nega- 
tive emulsions  it  is  important  that  the  latent  image  shall 
remain  unimpaired  and  that  the  still  unexposed  portions 
of  the  emulsions  shall  not  develop  fog.  At  high  tempera- 
tures and  humidities  certain  chemical  reactions  occur  in 
the  film  which  destroy  the  latent  image,  and  the  image  is 
said  to  "fade,"  that  is,  if  the  film  is  stored  for  any  length 
of  time  the  developed  image  is  very  much  weaker  or  less 
dense  than  if  the  film  was  developed  immediately  after 
exposure.  Apart  from  this  fading  of  the  latent  image, 
under  the  above  conditions  of  storage,  the  emulsion  be- 
comes fogged  with  time,  which  destroys  the  quality  of  the 
developed  image.  High  temperature,  however,  has  a  sur- 
prisingly small  effect  on  the  latent  image  if  the  exposed 
film  emulsion  is  dry,  that  is,  if  it  is  in  equilibrium  with 
an  atmosphere  of  low  relative  humidity.  The  experience 
of  numerous  explorers  in  tropical  countries  who  thorough- 
ly dried  out  their  film  after  exposure  and  before  packing 
but  who  did  not  develop  the  film  for  several  months 
afterwards  thoroughly  establishes  this  fact. 

^  Effect  of  a  Sudden  Change  of  Temperature  on  Moist 
Film. 

If  moist  film,  that  is,  film  which  is  in  equilibrium  with 
an  atmosphere  of  high  relative  humidity  is  suddenly  cooled, 
moisture  is  apt  to  condense  as  droplets  on  the  film  emul- 


sion which  will  cause  spots  on  the  developed  film.  Such 
spots  are  termed  "moisture  spots"2.  There  is  very  little 
danger  of  the  formation  of  moisture  spots  due  to  sudden 
cooling  of  the  original  unopened  film  cans.  The  most 
frequent  cause  of  moisture  spots  is  sudden  cooling  of  the 
film  when  in  a  moist  condition  in  the  camera  and  retorts. 
tf  The  Care  of  Amotion  Picture  Film  Before  Exposure. 

From  the  above  discussion  it  is  seen  that  film  must  be 
kept  dry  and  as  cool  as  possible  before  exposure.  The 
film,  however,  must  not  be  too  dry,  otherwise  static  may 
be  produced  in  the  camera  with  negative  film,  and  in  the 
printers  wth  positive  film.  On  leaving  the  factory,  mo- 
tion picture  film  as  contained  in  the  cans  is  in  equilibrium 
with  an  atmosphere  having  a  relative  humidity  of  70  to 
75%  ,  but  the  paper  wrapping  absorbs  moisture  so  that 
the  film  which  is  a  few  months  old  is  relatively  dry.  The 
film  cans,  however,  are  not  perfectly  water-tight  and  in 
a  very  moist  atmosphere  the  packed  film  would  absorb 
moisture  very  slowly  so  that  it  is  preferable  to  pack  film 
which  is  liable  to  be  exposed  to  damp  atmospheres  in 
hermetically  sealed  cans.  Film  packed  in  this  way  can  be 
secured  on  special  order  from  the  manufacturers.  Five 
small  cans  are  contained  in  an  outer  can  with  a  soldered 
inside  cover  and  after  exposure  the  film  can  be  repacked 
in  this  outer  can  and  again  sealed  by  soldering  the  outer 
cover.  If  the  film  is  liable  to  be  roughly  handled  it  is 
preferable  to  construct  carrying  cases  of  heavy  sheet  metal 
or  fibre  impregnated  with  bakelite  and  fitted  with  gasket- 
ed  covers  which  can  be  clamped  down  with  suitable  screws 
or  clamps.  The  containers  should  not  be  unduly  exposed 
to  the  sun,  and  a  layer  of  white  felt  around  the  carrying 
cases  serve  to  insulate  the  film  from  sudden  heat  changes. 
Positive  film  in  the  laboratory  should  be  stored  in  the 
original  cans  at  a  temperature  at  as  near  65°F.  as  possible. 

Negative  films  should  not  be  retained  for  too  long  a 
period  either  in  the  retorts  or  in  the  camera  because  in  a 
damp  atmosphere  moisture  spots  are  apt  to  be  produced 
as  explained  above.  Film  should  be  removed  from  the 
original  container  only  as  required  and  in  the  field  a 
changing  bag  will  eliminate  the  necessity  of  carrying  an 
excessive  number  of  charged  retorts.  If  at  the  end  of  the 
day  any  unexposed  film  still  remains  in  the  camera  this, 
together  with  the  exposed  film,  should  be  packed  away  in 
cans  so  that  it  will  not  absorb  moisture. 
^  The  Care  of  Motion  Picture  Film  After  Exposure  and 
Before  Development. 

If  any  considerable  period  of  time  must  elapse  after  the 
negative  film  is  exposed  and  before  it  is  developed,  the 
film  should  be  dried  out  as  thoroughly  as  possible  in  order 
to  retard  the  fading  of  the  latent  image,  and  fogging  of 
the  emulsion,  and  to  prevent  the  possible  formation  of 
moisture  spots  as  explained  above.  The  film  should  not 
be  dried  to  the  point  where  it  becomes  excessively  brittle, 
otherwise  it  would  be  apt  to  crack  or  develop  static  when 
unrolling  previous  to  development.  Two  methods  of  dry- 
ing the  film  are  possible,  as  follows: 

1.  F.    W.    Renwick,    Trans.   Soc.    M.   P.    Eng.    Vol.    20. 

2.  "Markings  on  M.  P.   Film  Produced  by  Drops  of  Water."   by  J.  I.  Crab- 
tree   and   G.    E.   Matthews,   Trans.   Soc.   M.   P.    Eng.   Vol.    17,   29. 

(Continued  on  Page  20) 


November,  1924 


AMERICAN      CINEM  ATOGRAPHER 


Five 


Improvements  in  Cinema  Laboratory  Apparatus 

From  Transactions,   Society  Title   Making,   Film  View- 

ed  Motion    Picture   Engi-  By  J.  I.  Crabtree  and  C.  E.  Ives    ing  and  Other  Devices  Are 

neers.  Eas'"""!  R"ea"h  Labora,ory  Described. 


Fig.  1.     Title  Making  Apparatus. 


Fig.  2.     Adjustable   Title  Card  Holder 


16  REV   PER  SECOND 
I6TEEJH 
46  DlflM   PITCH 
■Hi  PITCH  Dlfl 

Elevation. 


Fig.  3.     Viewing  Machine. 


iOIER  ROLL 


Fig.  4.     Viewing  Machine. 


In  this  paper  is  presented  a  description  of  the  following 
apparatus  in  use  in  the  Film  Department  of  the  Research 
Laboratory  of   the   Eastman   Kodak  Company: 

1.  An  Apparatus  for  Making  Motion  Picture  Titles. 

2.  Continuous   Film   Viewing   Machine. 

3.  Semi-Automatic    Sensitometer. 

4.  Safety  Devices. 

1.   Apparatus  for  Making  Motion  Picture  Titles 

When  this  apparatus  was  designed  it  was  required  to 
take  care  of  title  cards  of  varying  sizes  so  that  it  was 
necessary  to  be  able  to  vary  the  distance  between  the 
camera  and  title  card  holder  from  two  to  six  feet.  In 
choosing  between  a  horizontal  and  vertical  arrangement 
of  camera  and  easel  the  vertical  arrangement  has  many 


advantages  when  photographing  title  cards  of  uniform 
size,  but  in  order  to  be  able  to  vary  the  distance  between 
the  camera  and  title  card  it  would  be  necessary  to  move 
either  the  camera  or  easel  against  gravity  so  that  the  hori- 
zontal arrangement  was  finally  adopted. 

A  second  problem  in  design,  was  whether  to  incorporate 
all  adjustments  in  the  easel,  the  camera  remaining  station- 
ary; or  to  construct  a  fixed  easel  nad  incorporate  all 
adjustments  in  the  camera  supports,  or  to  make  both 
camera  and  easel  adjustable.  It  was  finally  decided  to 
make  the  easel  adjustable  in  a  vertical  direction,  to  rotate 
the  title  card  holder,  and  to  secure  side  adjustment  by 
moving  the  camera.  In  view  of  the  difficulty  of  prevent- 
ing vibration  of  the  camera,  it  is  considered  that  it  would 
be  preferable  in  future  designs  to  secure  side  adjustment 
by  moving  the  title  card  holder  and  not  the  camera. 


Eight 


AMERICAN     CINEMATOGRAPHER 


November,  1924 


Eliminate  Death  from  Air  Cinematography 


Daredevil  Stunts  Accused  of 
Being  Trick  Work  When 
Viewed  by  Audience. 


By  Harry  Perry,  A.  S.  C. 


(Harry  Perry,  A.  S.  C,  the  author  of  the  following 
article,  speaks  with  authority  on  the  matter  of  photograph- 
ing motion  picture  action  and  "stunts"  in  the  air,  he 
having  turned  his  camera  in  an  aeroplane  for  such  produc- 
tions as  B.  P.  Schulberg's  "The  Broken  Wing,"  "The 
White  Man" ;  Universal's  "The  Fighting  American," 
Ruth  Roland's  recent  feature,  in  addition  to  having  done 
similar  work  for  industrial  assignments. — Editor's  Note.) 


This  is  an  article  setting  forth  the  writer's 
personal  views  regarding  the  big  opportunity 
there  is  for  every  cinematographer  to  help 
save  lives.  This  sounds  like  a  queer  sort  of 
statement,  but  the  reason  for  it  is  that  every 
so  often  we  read  a  small  article  in  the  paper 
about  some  stunt  man  or  woman  being  killed 
or  injured  in  attempting  to  carry  out  some 
thrilling  action  during  the  taking  of  stunt 
scenes. 

Tragedies 

A  few  days  ago,  a  man  lost  his  footing  on 
the  ladder  attached  to  an  aeroplane  and  fell 
500  feet  to  death.  Another  man  was  lost  at- 
tempting to  swim  some  rapids  in  the  Colorado 
River.  Locklear,  the  aviator,  lost  his  life  in 
an  aeroplane  stunt.  Pichens,  another  stunt 
man,  lost  his  life  in  a  ladder  mishap  on  a 
plane. 

These  are  just  a  few  instances,  there  having 
been  many  more — and  my  reason  for  bringing 
them  up  is  that  nearly  all  these  stunts  could  be 
done,  in  my  opinion,  with  more  realism,  with 
less  expense  and  with  no  chance  of  accident, 
by  means  of  good  miniatures  and  trick  camera 
work. 

Not  Believed  Real 

Many  of  the  stunts  in  pictures  are  not  be- 
lieved to  be  the  real  thing  by  the  picture  pa- 
trons anyway,  especially  the  most  difficult 
ones.  For  example,  several  months  ago,  I 
photographed  a  stunt  man  3000  feet  in  the  air 
being  knocked  off  the  wing  of  a  second  plane 
by  another  man,  and  then  swinging  head  down 
from  the  end  of  the  wing  underneath  the  land- 
ing gear,  and  thence  coming  up  on  the  oppo- 
site wing  of  plane  (after  swinging  like  a  pen- 


Special  Effects  Would  Get 
Same  Results  and  Forestall 
Loss  of  Human  Life. 


dulum  on  a  clock)  where  he  caught  hold  and 
pulled  himself  on  to  the  wing. 

Dare-devil  Stunt 

He  was  secured  by  heavy  wires  attached  to 
his  ankles  which  extended  to  the  landing  gear 
of  plane.  Everyone  who  saw  the  picture  and 
did  not  know  that  the  stunt  was  actually  pho- 
tographed, said  it  was  a  pretty  good  trick,  so 
what  is  the  use  of  a  man's  risking  his  life  to  do 
a  stunt  which  is  not  even  believed  and  which 
could  be  done  just  as  well  in  miniature? 

I  do  not  contend  that  all  miniatures  are 
good,  or  even  a  part  of  them,  but  I  do  think 
that  there  is  a  big  chance  for  improvement  in 
them  and  that  the  opportunities  are  unlimited 
for  cinematographers  in  this  line,  insofar  as 
aerial  cinematography  is  concerned. 


The  A.  S.  C.  gasoline  alley  has  been  further  en- 
riched by  H.  Lyman  Broening's  Chrysler  Sedan, 
Frank  B.  Good's  sport  Chandler,  L.  Guy  Wilky's 
sport  Chandler  roadster,  George  Meehan's  Wills- 
St.  Claire,  James  C.  Van  Tree's  Buick  sedan,  the 
Ford  which  Victor  Milner  carries  as  an  auxilliary 
to  his  Hudson  coach,  Gilbert  Warrenton's  best 
Ford  coupe  in  the  world,  George  Barnes'  Ford 
coupe  for  California  use,  etc. 

Will  Robert  Kurrle,  Fred  Jackman  and  Perry 
Evans  kindly  form  a  three-legged  quartet  and  sing 
praise  why  the  Marmon  is  the  best  car  in  the 
world  ? 


VISUAL  EDUCATION 


\ 


NOT  IS    \         tresspassers  will  b 
ccrscraScd  to  faefiXi.  extent  of    Z 

t~*\- ;  rcT  dog's   which  xicxx  was  over 
gcchC'rlc  Xo  sir&iigevs  *1  diiblU    bvl 
srTci  f„r.  which,  afirt"  Totted  wtfFf  sdfst 
v:..or's.    .Dam   if  I  airrt  o'iilcn  iirc 
£f*His  hell   rkisiri  on  my    fixe?. 

3.G-n'scoi 


Photo    by    International    Kinema    Research 


November,  1924 


AMERICAN     CINEMATOGRAPHER 


Nine 


Boston  C*  of  C*  Provides  for  Motion  Pictures 


Great  Portion  of  Recently 
Completed  Building  Reser- 
ed  for  Motion  Pictures. 


By  Denny  B.  Goode 


Architecture  Designed  to 
Take  Care  of  Chamber's 
Cinema  Requirements. 


No  part  of  the  Boston  Chamber  of  Commerce  equip- 
ment, when  it  moved  into  its  new  $6,000,000  building  in 
October,  was  more  generally  admired  than  its  spectacular 
lighting  effects  and  the  elaborate  provision  that  has  been 
made  for  the  projection  of  moving  pictures.  Careful 
thought  has  been  given,  for  more  than  a  year  before  the 
building  was  completed,  to  the  projection  of  moving  pic- 
tures and  the  growing  popularity  of  pictures  was  recog- 
nized almost  in  every  feature  of  the  great  assembly  hall 
on  the  fourteenth,  which  is  the  top  floor,  of  the  new 
building. 

Shut  Out  Light 

The  five  great  chandeliers  in  this  room  are  so  hung  that 
the  light  projected  by  the  moving  picture  machine  passes 
between  the  four  corner  ones  and  beneath  the  central  one. 
Curtains  were  built  into  the  windows  so  that  when  they 
are  drawn  the  light  is  shut  out  completely  from  the  out- 
side. The  screen  itself  is  folded  up  and  down  and  when 
not  in  use,  it  is  cleverly  concealed  by  an  ornamental  design. 

A  large  amount  of  space  was  consumed  in  the  rear  of 
the  room  for  the  installation  of  a  great  theatrical  organ 
and  in  order  to  retain  the  symmetry  of  proportions  as  well 
as  to  utilize  all  waste  spaces,  a  balcony  was  built  in  the 
central  part  of  the  back  of  the  room  and  in  the  rear  of 
this,  the  moving  picture  projection  room  with  moving 
picture  machines  and  stereoptican  machine  was  construct- 
ed. Alongside  the  projection  room  was  installed  a  loud 
speaker  system  which  enables  a  speech  delivered  in  the 
assembly  hall  to  be  received  over  a  metallic  circuit  in  any 
of  the  seventeen  private  dining-rooms  on  the  floor  or  in 
the  cafeteria  in  the  basement,  fifteen  floors  below.  Special 
provision  has  been  made  in  the  installation  of  the  loud 
speaker  system  to  connect  it  up  with  radio  reception  so 
that  a  speech  delivered  a  thousand  miles  distant  from  Bos- 
ton may  be  received  in  any  of  dozens  of  rooms,  as  may  be 
desired.  Organ  recitals,  which  were  given  during  the 
opening  week  were  likewise  received,  at  the  will  of  the 
operator,  in  any  of  the  public  rooms  of  the  building. 

The  locations  of  the  organ,  the  loud  speaker  system, 
and  the  projection  room,  are  so  conveniently  arranged  that 
they  can  be  made  to  syncronize  with  each  other.  One  of 
the  organ  recitals  during  the  opening  week,  included  an 
imitation  of  thunder.  The  lighting  equipment  in  th.2 
building  was  perfectly  installed  and  the  imitation  of  actual 
lightning  was  entirely  realistic. 

Colored  Lights 

A  series  of  colored  lights,  generally  concealed  in  the 
ceiling,  give  many  spectacular  effects.  Indeed,  the  expe- 
riences of  the  opening  week  were  so  favorable  that  the 
General  Electric  Company  has  now  made  arrangements,  in 
connection  with  the  forthcoming  electrical  convention  to 
be  held  in  Boston,  to  experiment  with  the  room  and  to 
attempt  to  get  all  the  spectacular  and  theatrical  effects 
that  can  be  had  and  to  blaze  new  trails  along  the  lines  of 
electric  lighting. 


The  resident  membership  of  the  Boston  Chamber  of 
Commerce  is  limited  to  7500  and  the  New  England  mem- 
bership, outside  of  metropolitan  Boston,  is  limited  to  2500. 
It  is  estimated  that  more  than  half  the  total  membership 
of  the  Chamber  visited  its  new  quarters  during  the  cere- 
monies attending  the  opening,  which  included  daily  lunch- 
eons and  dinners.  Plans  have  been  made  for  visitors  in 
Boston  to  inspect  the  building  and  visit  the  quarters  during 
business  hours. 


New  Film  Profession?  Or  New 

Name  for  the  Cinematographer 

Possibly  syndicate  material,  the  following  item  ap- 
peared recently  on  the  editorial  page  of  a  Los  Angeles, 
newspaper : 

The  greatest  skill  and  the  greatest  ingenuity  of 
many  branches  of  science  have  been  used  and  de- 
veloped in  the  movies. 

A   new  profession   has  arisen  as  a  result;  it  is 
that  of  the  "movie  engineer."   He  directs  the  erec- 
tion of  the  huge  structures,  constructs  miniatures 
scenes  in  the  laboratory  and  performs  all  sorts  of 
wonders,  through  photography,  with  toy-sized  ob- 
jects and  landscapes. 
Accurate   information   concerning   the   motion    picture 
professions     is     to     be     desired    but    misinformation,    no 
matter  what  the  intent  of  the  writer,  is  worse  than  no 
information   at   all.      As   far   as   this   publication   knows 
there  is  no  film  calling  which  may  be  specifically  labelled 
as    "movie   engineer,"   embracing   the    activities   enumer- 
ated in  the   foregoing  article.     There  is,  of  course,  the 
Society  of  Motion  Picture  Engineers  but  membership  in 
that   society  is  not   concentrated   on   any   one   particular 
film  calling — such  as  the  "movie  engineer" — but  reaches 
into  the  various  branches  of  the  industry. 

Needless  to  say,  numerous  of  the  duties  attributed  to 
the  "movie  engineer"  are  those  of  the  cinematographer 
himself. 


REMEMBER 

The  American  Society  of  Cinematogra- 
phers  was  unable  to  obtain,  for  its  new 
headquarters,  the  telephone  number 
(HOllywood  4404)  that  it  held  for  the 
past  several  years. 

The  new  number,  don't  forget,  is 

GRanite  4274 


Ten  AMERICAN     CINEMATOGRAPHER  November,  1924 


The  Editors'  Lens    -    -    -    -    focused  by  foster  goss 


Hi g gin  Is  Right/ 

<|  Speaking  at  a  meeting  arranged  by  George  Landy  recently  for 
the  Western  Motion  Picture  Advertisers  (the  "Wampas"), 
Howard  Higgin,  noted  scenario  writer,  expressed,  in  detail,  the 
view  that  the  time  had  come  for  motion  picture  publicity  to  be 
broadened  so  as  to  include  not  only  the  stars  and  players  them- 
selves but  to  give  attention  to  the  other  artists  who,  though  they 
are  never  seen,  are  indispensible  factors  in  the  production  of 
every  picture. 

II  Higgin  indicated  that  the  general  concentration  on  the  players  in 
matters  of  publicity  had  made  the  reading  public  so  familiar  with 
their  lives  that  the  slightest  adverse  happening  in  their  affairs 
conjured  a  boomerang  that  redounded  to  the  detriment  of  not 
only  the  publicized  principals,  but  to  that  of  the  industry  as 
a  whole. 

I]J  Higgin  gave  it  as  his  opinion  that  the  time  had  come  to  move  away 
from  this  extreme  in  publicity.  He  believes  that  by  giving  the 
director  generally,  the  scenarist,  the  art  director,  the  cinematog- 
rapher  and  all  those  whose  efforts  go  to  make  up  a  motion  picture, 
the  attention  that  their  merits  deserve  in  publicizing — that  by  so 
doing,  a  substantial  or  business-like,  if  you  please,  form  of  pub- 
licity will  be  created  which  will  not  only  make  good  reading  and 
result  in  bestowing  credit  where  such  is  due,  but  which  will 
remove  film  publicity  from  the  realm  of  the  frivolous  and  place 
it  on  a  foundation  which,  being  diversified,  is  not  susceptible  to 
casting  out  boomerangs. 

IJJThat  such  a  program  of  publicity  can  be  highly  beneficial  has 
been  proved  to  those  publicity  men  who  have  transcended  the 
beaten  paths.  They  can  testify  that  Higgin  is  right.  Leading 
publicity  men  realize  this,  as  shown  in  the  article  of  Harry  D. 
Wilson,  president  of  the  "Wampas,"  in  last  month's  issue  of  this 
publication.  Incidentally,  Wilson's  article  points  out  conclusively 
where  the  cinematographer  fits  in  under  Higgin's  plan. 


November,  1924  AMERICAN     CINEMATOGRAPHER  Eleven 


Squelch  the  Charlatans 

IJ  Reports  from  the  East  tell  of  the  bringing  together  in  New  York 
City,  as  the  result  of  arrangements  conducted  by  the  Hays  organi- 
zation, of  representatives  of  the  Investment  Bankers  Association, 
the  Better  Business  Bureau,  the  New  York  Credit  Men's  Associa- 
tion, the  National  Association  of  Credit  Men,  the  National 
Vigilance  Committee  and  the  American  Bankers  Association, 
for  the  purpose  of  effecting  national  co-operation  against  the 
activities  of  fake  film  promoters.  It  is  said  that  the  representa- 
tives of  these  organizations  pledged  their  support  in  this  direction. 

(J  The  necessity  for  such  action  cannot  be  overlooked.  As  has  already 
been  mentioned,  the  American  Cinematographer  realized  the 
urgency  for  halting  these  gross  and  petty  practices  when  it  was  the 
first  to  specifically  and  directly  oppose  the  shady  promoters  by 
virtue  of  its  expose  of  "The  Independent  Motion  Picture  Pro- 
ducing Company"  in  Dayton,  Ohio,  more  than  a  year  ago. 

CJThe  work  of  the  Hays  organization  against  the  betrayers  of  films 
deserves  the  support  of  all  within  the  industry.  This  publication 
is  glad  to  see  the  national  organized  co-operation.  It  should  not 
be  possible  for  the  fake  promoter  to  ply  his  trade  even  in  the 
remotest  settlement. 


Prosperity  at  the  Box  Office 

{J  Now  that  the  election  is  over,  let's  hope,  no  matter  what  our 
political  faiths  may  be,  that  the  next  four  years  will  be  abundantly 
prosperous,  for  such  would  mean  prosperity  for  the  exhibitors — ■ 
which  in  turn  would  work  for  prosperity  among  those  who  make 
the  pictures. 

€j[ The  token  of  the  full  dinner  pail  makes  itself  felt  at  the  box-office, 
for,  inversely,  citizens  who  are  affected  by  economic  depressions, 
draw  in  on  the  dimes  that  they  spend  for  amusements. 


Twelve 


AMERICAN     CI  NEM  ATOGR  AP  HER 


November,  1924 


Manhattan  Mutterings 

By  Philip  H.  Whitman,  A.  S.  C. 


€[ Being  mumblings  heard  by  an  A.  S.  C. 
member  in  rumbling  and  rambling  about  old 
New  York  town. 


Philip  H.  Whitman,  A.S.C. 

Pronounced  Great  Work 
CJ  Pronounced  by  all  authorities  on  the 
subject  as  the  greatest  piece  of  trick  work 
in  years,  Bucky  Harris  and  his  plucky 
Washington  Senators  achieved  the  re- 
markable fade-out  of  John  McGraw  and 
his  New  York  Giants  in  the  last  reel  of 
the  recent  world's  series.  While  this 
trick  work  comes  in  for  special  com- 
mendation, the  exposures  must  not  be 
overlooked,  consisting  as  they  did  of  any 
number  of  singles,  doubles  and  even 
quadruples.  All  of  us  cinematogs  who 
were  present  (our  grand  and  great  grand- 
mothers having  all  passed  out  as  alibis), 
were  unanimous  in  our  praise  and  all 
agreed  there  was  no  room  for  re-takes. 
All  joking  aside,  it  was  some  world's 
series  and  never  before  have  our  cinema- 
tographic efforts  been  so  badly  interrupt- 
ed by  any  outside  influence.  But  now  to 
work  again. 

Rosher  Returns 
IflWith  the  arrival  of  the  S.  S.  Maure- 
tania  last  week  came  our  old  friend  and 


fellow  A.  S.  C,  Charles  Rosher,  who  has 
spent  the  last  six  months  abroad  studying 
foreign  conditions  and  incidentally  get- 
ting some  artistic  title  backgrounds  for 
forthcoming  Mary  Pickford  productions. 

Charlie,  who  is  leaving  any  day  now 
for  the  west  coast,  reports  considerable 
production  activity  over-seas,  particular- 
ly in  Germany.  He  has  gathered  much 
authentic  data  which  he  hopes  to  have 
time  to  assemble  in  a  story,  so  that  it  may 
appear  in  an  early  issue  of  the  American 
Cinematographer. 

Seitz  Sails 

CJWith  the  departure  of  the  French 
liner,  Paris,  last  week  went  John  Seitz, 
A.  S.  C,  and  the  entire  Rex  Ingram  pro- 
duction unit.  They  are  headed  for  Paris, 
where  work  on  Mr.  Ingram's  new  pic- 
ture, "Mare  Nostrum,"  is  scheduled  to 
start  soon.  The  entire  production  will  be 
filmed  abroad  and  studios  at  both  Paris 
and  Nice  are  to  be  used.    It  is  understood 

(Continued  on  page  15) 


November,  1924 


AMERICAN     CINEMATOGRAPHER 


Thirteen 


Bert  Glennon,  A.  S.  C,  is  photographing  "Tomorrow's 
Love,"  a  Famous  Players-Lasky  production,  directed  by 
Paul  Bern.     Agnes  Ayers  and  Pat  O'Malley  are  starred. 

Reginald  Lyons,  A.  S.  C,  has  finished  the  Fox  pro- 
duction, "The  Arizona  Romeo,"  starring  Buck  Jones  and 
directed  by  Ed  Mortimer.  Reggie  will  have  time  now  to 
get  his  Packard  racer  in  shape  for  the  250-mile  road 
race  at  Ascot  Thanksgiving  day.  Reggie  is  installing 
four-wheel  brakes  and  new  springs  and  pistons.  Reggie 
says  he  is  out  for  the  "big  dough." 

Paul  P.  Perry,  A.  S.  C,  is  completing  the  photography 
on  Douglas  MacLean's  latest  production  at  the  F.  B.  O. 
studios. 

E.  Burton  Steene,  A.  S.  C,  who  customarily  holds 
forth  in  New  York  City,  has  deserted  the  metropolis  for 
the  time  being  on  a  combined  business  and  pleasure  trip 
to  Hollywood.  Steene  is  renewing  many  old  acquaint- 
ances made  in  the  hectic  days  when  pictures  were  "in  their 
infancy"  in  Gotham  and  when  every  cameraman  had  to 
pack  a  strong  arm  as  well  as  a  cranking  arm  for  applica- 
tion against  the  detectives  who  were  bent  on  demolishing 
the  cameras  that  weren't  being  operated  in  the  interest  of 
the  old  film  trusts. 

Fred  and  Floyd  Jackman,  both  A.  S.  C.  members,  are 
in  the  wilds  of  Arizona  on  location  for  the  filming  of 
the  latest  Fred  Jackman  productions  for  Hal  Roach 
studios.  The  A.  S.  C.  members  have  set  out  to  make 
their  wilderness  camp  as  modern  as  conditions  will  per- 
mit. The  paraphernalia  includes  a  projection  machine 
for  the  exhibition  of  pictures  taken  on  the  location,  and 
a  generating  system  which  will  give  the  Jackman  camp 

electric  lights. 

*  *     * 

Victor  Milner,  A.  S.  C,  is  photographing  the  Famous 
Players-Lasky  production,  "East  of  Suez,"  starring  Pola 
Negri  and  directed  by  R.  A.  Walsh. 

E.  B.  Du  Par,  A.  S.  C,  has  returned  from  Sacramento 
and  for  the  past  several  days  has  been  doing  special  work 

at  the  Warner  Brothers  studio  in  Hollywood. 

*  *     * 

Al  Gilks,  A.  S.  C,  is  still  busy  with  the  cinematography 
on   Paramount's   "North   of   36,"   which   promises   to  be 

one  of  the  outstanding  releases  of  the  season. 

*  *     * 

Bert  Glennon,  A.  S.  C,  has  been  appointed  to  the 
A.  S.  C.  Board  of  Governors  pro  tem.  during  the  ab- 
sence from  Los  Angeles  of  John  F.  Seitz,  A.  S.  C. 

Hans  Koenekamp,  A.  S.  C,  has  similarly  been  ap- 
pointed in  the  place  of  James  Van  Trees,  A.  S.  C,  who 
is  in  New  York  City  with  First  National  productions. 
Seitz  has  sailed  for  Europe  where  he  will  film  Rex 
Ingram's  latest  production. 


Walter  Lundin,  A.  S.  C  will  have  his  camera  efforts 
go  out  under  the  Paramount  banner  henceforth  as  the  result 
of  the  arrangements  whereby  Harold  Lloyd's  productions 

will  be  released  by  Famous  Players-Lasky. 

*  *     * 

Sol  Polito,  A.  S.  C,  has  been  spending  busy  days  on  the 
filming  of  "A  Cafe  in  Cairo,"  a  Hunt  Stromberg  pro- 
duction starring  Priscilla  Dean. 

*  *     * 

Ned  Van  Buren,  A.  S.  C,  has  returned  to  Los  Angeles 

from  New  York  City. 

*  *     * 

Gilbert  Warrenton,  A.  S.  C,  has  returned  from  a  loca- 
tion trip  of  several  weeks  at  Victorville,  Calif.,  where  he 
finished  the  cinematography  on  his  latest  production  for 

Universal. 

*  *     * 

Photographed  by  L.  Guy  Wilky,  A.  S.  C,  "The  Fast 
Set,"  William  de  Mille's  current  Paramount  production, 
was  given  its  premiere  in  Los  Angeles  recently. 


Harold  M.  Bennett  Announces 

New  Carl  Zeiss  Tessar  Lens 

Harold  M.  Bennett,  photographic  agent  of  New  York 
City,  has  announced  a  new  Carl  Zeiss  lens — the  f:2.7 
Tessar. 

Bennett  states  that  he  anticipates  a  heavy  demand  for 
the  new  equipment.  Advance  orders  are  already  being 
received  and  are  being  booked  in  the  order  of  their  arrival. 


Elaborate  Biblical  Scenes  to  Be 

Made  in  Color  for  Metro  Production 

Production  on  "So  This  Is  Marriage"  was  suspended 
for  three  days  at  the  Metro-Goldwyin-Mayer  studio  to 
allow  Hobert  Henley  and  his  staff  of  assistants  to  pre- 
pare for  the  filming  of  the  elaborate  biblical  sequence  for 
this  picture. 

From  Bible 

The  episode  that  embraces  these  mammoth  scenes  is  a 
biblical  insert  into  the  modern  story  of  "So  This  Is 
Marriage."  It  will  be  photographed  in  natural  colors  by 
the  technicolor  process.  The  story  of  this  dramatic  and 
spectacular  sequence  is  a  faithful  adaptation  of  the 
eleventh  and  twelfth  chapters  of  Samuel,  which  relates 
the  familiar  tale  of  the  David,  Uriah  and  Bath-Sheba 
triangle. 

Special  Costuming 

More  than  five  hundred  people  are  to  be  used  in  the 
biblical  scenes.  Among  these  are  fifty  dancers  who  are 
being  trained  by  Mile.  Fanchon.  The  costuming,  by 
Sophie  Wachner,  is  to  be  especially  pictorial  and  vivid 
as  the  colors  will  show  on  the  screen  as  they  appear  to 
the  eye. 


Fourteen  AMERICAN     CINEMATOGRAPHER  November,  1924- 


From  studio  to  screen 


EASTMAN  FILM 


Just  as  in  the  studio  where  Eastman 
Negative  Film  makes  the  most  of  the 
cameraman's  skill,  so  in  the  theatre 
Eastman  Positive  Film  carries  quality 
through  to  the  screen. 


Look  for  the  identification 
"Eastman""Kodak"  in  the 
film  margin. 


EASTMAN  KODAK  COMPANY 

ROCHESTER,  N.  Y. 


November,  1924 


AMERICAN     CINEMATOGRAPHER 


Fifteen 


MANHATTAN  MUTTERINGS 

(Continued  from  page  12) 

the  company  will  be  in  Europe  for  sev- 
eral months. 

New  Units  at  Famous 

C|  Sydney  Olcott  is  preparing  to  start  any 
day  now  on  the  production,  "Salome  of 
the  Tenements,"  which  he  is  to  do  for 
Famous  Players-Lasky.  Al  Liguori  will 
be  in  charge  of  the  cinematographic  end 
of  the  picture. 

Tommy  Meighan's  next  starring  vehi- 
cle is  to  be  directed  by  Eddie  Sutherland, 
who  is  busy  at  present  on  the  final  revi- 
sion of  the  script.  Faxon  Dean,  A.  S.  C, 
who  recently  arrived  from  the  coast  to 
photograph  Tommy  Meighan,  will  in  all 
probability  be  at  the  camera. 

Divan  Also 

l| Allan  Dwan,  who  has  just  finished  the 
direction  of  Bebe  Daniels  in  "Argentine 
Love"  for  Famous  Players-Lasky,  is  leav- 
ing soon  for  Paris  where  he  will  film  the 
exteriors  for  Gloria  Swanson's  next  pic- 
ture. 


New  Photographic  Wrinkle 

for  Use  in  "The  Great  Divide" 

A  cinematographic  treat  is  being  prepared  by  Percy 
Hilburn  in  the  filming  of  "The  Great  Divide,"  the  screen 
version  of  William  Vaughn  Moody's  great  Arizona  ro- 
mance which  Reginald  Barker  is  directing  for  Metro- 
Mayer,  and  of  which  Percy  Hilburn  is  chief  cameraman. 

Mr.  Hilburn  has  done  a  great  deal  of  experimenting 
and  during  the  making  of  "The  Great  Divide"  he  has 
been  making  an  additional  "shot"  of  each  scene;  during 
the  filming  of  this  special  "shot"  he  uses  a  new  lighting 
effect,  the  principle  of  which  revolves  around  the  use  of 
colored  light.  So  far  the  results,  it  is  stated,  have  more 
than  justified  the  time  devoted  to  the  special  work  on  these 
interior  scenes. 


Georges  Rizard,  A.  S.  C,  who  has  photographed  some 
of  the  screen's  outstanding  productions  the  latest  of  which 
was  "The  Courtship  of  Miles  Standish,"  has  left  Los  An- 
geles on  a  jaunt  to  New  York  City. 


Put  yourself 

on  your  Christmas  list 

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mas time,  and  yet  be  as  unselfish 
and  as  charitable  as  you  like  to  be. 
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women  whose  only  hope  for  life  and 
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from  tuberculosis  back  to  health. 
When  you  buy  Christmas  Seals,  it  is 
you  who  are  giving  them  the  greatest 
gift  that  lies  within  the  reach  of  man — 
the  gift  of  life. 

Every  life  you  save 
from  tuberculosis 
means  additional  pro- 
tection for  you  and 
your  family.  Funds 
from  the  sale  of 
Christmas  Seals  have 
eliminated  half  the 
deaths  from  tuber- 
culosis. 


Help  stamp  out  the 
dread  disease.  Buy 
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THE  NATIONAL,  STATE,  AND  LOCAL  TUBERCULOSIS 
ASSOCIATIONS  OF  THE  UNITED  STATES 


Sixteen 


AMERICAN     CINEMATOGRAPHER 


November,  1924 


Making  Motion 

Picture  Titles 


By  J.  I.  Crabtree 

Eastman  Research  Laboratory 


From  Transactions 

Society  of  Motion 

Picture  Engineers 


(Continued  from   last   month) 

Only  the  best  cameras  should  be  employed.  Dowelling 
pins  are  indispensable  in  order  to  insure  registration  in 
double  exposure  work.  The  gate  tension  should  be  ad- 
justed so  as  to  accommodate  the  thinner  positive  stock, 
while  reflections  from  the  usual  strip  of  steel  on  the 
pressure  plate  in  the  gate  which  often  cause  a  dark  line 
through  the  center  of  the  film  should  be  prevented  by 
replacing  the  steel  with  a  strip  of  ebony.  The  frame  line 
should  be  capable  of  adjustment  through  a  distance  of  one 
full  pitch  in  order  that  titles  may  be  matched  to  negatives 
which  do  not  have  the  standard  frame  line  midway  be- 
tween perforations.  The  gate  aperture  should  be  made 
considerably  larger  than  the  standard  projector  gate  in 
order  to  prevent  the  possibility  of  a  border  showing  on 
projection. 

A  series  of  lenses  of  2,  3,  and  4^  inches  focal  length 
fitted  in  focussing  mounts  is  desirable.  The  camera  should 
be  motor  driven  and  fitted  with  a  reversing  switch  and 
counter  for  making  dissolves. 

The  Lens  Hood 

A  lens  hood  is  an  essential  camera  accessory  if  maxi- 
mum photographic  contrast  is  required.  The  hood  func- 
tions by  eliminating  flare  due  to  extraneous  light.  An 
ideal  lens  hood  is  one  having  a  rectangular  aperture,  the 
length  of  the  sides  of  the  aperture  having  a  ratio  of  4:3, 
which  is  the  ratio  of  length  to  the  breadth  of  the  camera 
gate.  If  the  lens  were  a  pin  hole  then  the  aperture  of  the 
lens  hood  would  be  in  focus  no  matter  what  its  distance 
was  from  the  lens,  but  in  the  case  of  an  ordinary  lens, 
unless  the  aperture  is  placed  at  a  considerable  distance  in 
front  of  the  lens  when  the  latter  is  focussed  at  infinity, 
the  image  of  the  aperture  is  not  sharp ;  that  is,  there  is  a 
vignetting  effect  at  the  gate.  It  is  obvious  that  the  aper- 
turs  of  the  lens  hood  should  be  sufficiently  large  so  as  not 
to  vignette,  but  the  greater  the  extent  of  the  vignetting 
the  greater  the  size  of  the  aperture  must  be  over  and 
above  that  required  for  an  ideal  lens  (a  pin  hole),  although 
the  efficiency  of  the  lens  hood  is  then  proportionately  less- 
For  a  circular  lens  hood  the  following  formula  gives  the 
relation  between  the  diameter  and  the  length- 
Diameter  of  Hood  equals 
5       Length  of  Hood 

—  X  plus  Aperture  of  Lens. 

4       Focal  Length  of  Lens 

The  width  of  the  lens  aperture  is  found  by  dividing  the 
focal  length  of  the  F  number  of  the  lens;  that  is,  for  a 
2"  lens  working  at  f|4  the  width  of  the  aperture  is  one- 
half  inch. 

As  an  example,  to  find  the  width  of  a  hood  8"  long 
for  a  lens  having  a  focal  length  of  2"  and  working  at  f|4, 
5         8  1 

Width  of  hood  equals  — X  —  plus  —  equals  5}4". 
4         2  2 

This  gives  a  cylindrical  hood  5^"  in  diameter  having  a 
length  of  8",  which  should  be  fitted  with  a  rectangular 
opening  as  large  as  possible. 

The  same  result  could,  of  course,  have  been  obtained 
by  trial  and  error,  by  viewing  the  gate  image  while  vary- 


ing the  hood  aperture  and  observing  when  a  vignetting 
occurred. 

Since  the  longest  hood  is  the  most  efficient,  the  most 
satisfactory  hood  for  title  work  consists  of  a  black  mask 
having  a  rectangular  opening  (ratio  of  sides  4x3)  placed 
between  the  illuminating  lamps  and  the  camera.  The 
opening  may  be  made  adjustable  by  means  of  suitable 
sliding  shutters  in  case  different  sized  title  cards  of  dif- 
ferent lenses  are  used.  The  correct  size  of  the  opening 
may  be  found  either  by  trial  and  error  or  by  calculation 
as  above. 

The  Lighting  Equipment 

Of  the  three  available  light  sources;  namely,  arc,  nitro- 
gen tungsten,  and  mercury  vapor,  the  latter  is  to  be 
preferred  on  account  of  the  greater  photographic  actinic 
power  of  the  radiation,  its  adaptability  for  uniformly 
illuminating  large  areas,  and  the  fact  that  the  intensity 
fluctuation  with  voltage  is  not  of  the  same  high  order  as 
with  tungsten  lamps.  The  "M"  type  of  mercury  tube  is 
to  be  preferred,  while  there  is  little  to  choose  between 
lamps  for  AC  and  DC  current.  For  making  titles  by 
transmitted  light  a  sheet  of  opal  glass  arranged  in  a  frame 
in  front  of  the  "M"  tube  lamp  constitutes  a  very  uniform 
source   of   illumination. 

Choice  of  Film  Emulsions 

Since  positive  film  emulsion  is  capable  of  giving  greater 
contrast  than  negative  emulsions,  positive  film  is  usually 
employed  for  making  every  type  of  title,  both  direct  and 
indirect,  although  when  making  the  negative  for  indirect 
titles  sufficient  contrast  may  be  secured  on  negative  film, 
which  has  the  additional  advantage  that  it  does  not  have  as 
great  a  propensity  as  positive  films  to  attract  dust  in  the 
printer. 

Exposure  and  Development 

With  a  constant  light  source  at  a  constant  distance  from 
the  title  card,  the  exposure  is  controlled  by  the  speed  of 
taking  and  the  lens  aperture.  A  speed  of  8-16  pictures 
per  second  is  usually  employed  but  it  is  desirable  to  work 
at  the  smallest  possible  lens  aperture  in  order  to  increase 
definition.  For  a  given  development  the  exposure  should 
be  so  adjusted  that  no  spreading  of  the  letters  in  the  case 
of  negative  titles  or  "filling-in"  in  the  case  of  positive 
titles  occurs.  It  is  customary  to  fully  develop  titles  in  a 
contrast  developer,  but  care  should  be  taken  not  to  exceed 
the  fogging  point-  The  fogging  point  of  the  developer  is 
determined  by  developing  unexposed  strips  of  film  for  in- 
creasing times  and  noticing  the  time  of  development  at 
which  fog  just  commences  to  appear-  If  a  developer  fogs 
in,  say,  10  minutes,  a  safe  time  of  development  is  8  min- 
utes providing  the  developer  does  not  give  stain.  A  suitable 
developer  formula  for  titles  is  as  follows: 

Metric  Avoirdupois 

Elon  1.0  gms.  7      ozs. 

Sodium  sulphite   (desiccated)    75.0  31        lbs. 

Hydroquinone  9.0    "  4 

Potassium  carbonate      "  25.0  10 

Potassium  bromide  5.0    '  2l/\. 

Water  to  make  1        liter  50     gal. 

The  average  time  of  development  is  7  minutes  at  65 
degrees  F. 

(Continued  on  Page  17) 


November,  1924 


AMERICAN     CINEMATOGRAPHER 


Seventeen 


A  Tribute  to  the 
Cinematographer 


By  Irving  A.  Eckman 


capital,    yet    as 
St.    Louis,    Mo., 


{Note:     Though   this  article  is  written  by   a 

cinematographer,    it    serves    to    present    the   view 

of  a  student  among  the  laymen  as  Mr.  Eckman 

writes  as  one  who  is  jar  removed  from  the  film 

ho     is    engaged    in    the    camera    calling,    his    perspective    being    attained    from 

where    he    is     cinematographer     for     the     General    Film     Manufacturing     Company). 


Part  Camera  Artist  Plays 
in  Making  of  Big  Produc- 
tions Is  Accorded  Praise 


In  the  motion  picture  business,  prominent  among  the 
nation's  greatest  industries,  there  is  found  a  co-ordination 
of  effort  that  is  unique  to  the  uninitiated.  Here  industry 
and  art  are  brought  together  to  give  their  combined  re- 
sources to  the  peoples  of  the  world. 

However,  the  interest  of  the  motion  picture  theatre 
public  regarding  the  commercial  side  of  motion  pictures 
is  centered  chiefly  in  how  much  salary  their  favorite  star 
makes  per  week.  The  various  magazines  of  filmdom 
occasionally  give  them  some  news  of  the  cost  of  some  par- 
ticular play.  •  United  States  Government  statistics  show 
them  how  much  they  pay  in  a  year  for  admissions-  But 
this  knowledge  is  acquired  voluntarily — consciously- 

Unconsciously — involuntarily,  though,  a  greater  knowl- 
edge is  brought  home  to  the  picture  patron.  Through  the 
medium  of  the  motion  picture  a  new  art  has  had  its  birth. 
A  new  art? — perhaps — but  yet  it  embodies  all  the  age-old 
arts  within  it.  It  is  this  composite  art  that  involuntarily 
finds  a  response  within  ourselves.  It  is  this  art  that 
makes  us  laugh  with  the  comedian,  urge  on  the  hero,  cry 
with  the  heroine.  It  is  this  art  that  makes  us  thrill  at  the 
sight  of  our  country's  resources  spread  out  before  us  in 
the  educational  film,  marvel  at  the  rhythmical  motions 
of  a  race  horse  seen  with  "slow  motion"  in  the  news  reel, 
the  art  that  makes  us  realize  how  small  we  are  when 
we  see  Nature's  forces  portrayed  in  the  scientific  film. 
All  these  things,  and  a  host  of  others  are  brought  to  the 
screen  through  the  art  of  cinematography — motion  pho- 
tography. 

The  single  eye  of  the  camera — the  lens — records  on  the 
sensitive  film  particles  matter  which  the  two  human  eyes 
will  fail  to  perceive.  The  motion  picture  camera  is  a 
wonderful  instrument,  a  mechanism  that  can  and  is  ac- 
complishing great  good  throughout  the  world.  But  not 
mechanism  only  is  responsible  for  the  advancement  of  the 
motion  picture  and  photographic  art.  The  human  element 
is  to  be  considered.  A  fine  instrument  put  into  careless 
hands,  impelled  by  no  motives  other  than  for  financial 
gain,  can  accomplish  little  of  lasting  value  in  this  scheme 
of  life.  But  a  fine  instrument  in  the  hands  of  a  skilled 
operator — an  artist,  if  you  will — can  record  for  all  time 
much  that  can  benefit  mankind- 

The  real  cameraman — cinematographer — is  more  than 
a  mere  "crank-turner."  He  must  be  an  artist.  He  does 
not  compose  his  pictures  on  canvas,  but  upon  a  narrow 
strip  of  celluloid  film,  and  when  the  pictures  are  pro- 
jected on  the  screen,  magnified  many  times,  a  critical 
audience  is  ever  ready  to  find  some  faults.  So  he  must 
be  very  careful  in  his  work. 

The  news  cinematographer  records  the  events  of  the 
world  and  shows  us  how  our  neighbors  live.  His  pictures 
can  be  true  to  actuality  and  artistically  photographed,  or 
carelessly  done,  thus  unconsciously  telling  an  untruth  to 
the  spectator.  He  works  alone  and  his  ideas  are  those  we 
see  on  the  screen.  But  a  vast  majority  of  cinematogra- 
phers  are  engaged  in  another  way  to  express  ideas  on  the 
screen.  Their  ideas  are  interwoven  with  the  stories  of  the 
photoplays  which  constitute  the  bulk  of  motion  pictures 
being  produced. 


In  the  production  of  feature  photoplays  the  director 
must  rely  to  a  large  extent  on  the  cinematographer  for 
the  proper  interpretation  of  his  ideas  on  the  screen.  There- 
fore, there  must  needs  exist  the  closest  co-ordination  be- 
tween these  two  artists.  That  it  does  exist  goes  without 
saying,  as  we  can  see  from  any  of  the  big  feature  successes 
in  motion  picture  history.  

(Continued  from  Page  16) 
Contrast  of  Titles 

The  limiting  contrast  obtainable,  which  is  measured  by 
the  background  density  providing  the  lettering  remains 
perfectly  clear  is  determined  by  the  tendency  of  the  letters 
to  become  veiled  over  or  fogged,  and  the  extent  of  the 
side  spreading  of  the  image  which  is  manifested  by  broad- 
ening of  the  letters  in  the  case  of  negative  titles  and 
"filling-in"  of  the  letters  with  positive  titles. 

A  simple  method  of  testing  title  images  is  to  press  the 
film  emulsion  face  down  on  to  a  sheet  of  white  paper. 
By  comparison  with  a  title  of  good  quality  any  trace  of 
fogging  or  image  is  readily  discernible. 

Veiling  of  the  lettering  may  be  a  result  of  the  following 
causes : 

1.  Chemical  fog  due  to  over-development. 

2.  Light  fog  caused  by  reflection  from  points  outside 
the  title  card  area.  This  may  be  eliminated  by  black- 
ening the  board  to  which  the  title  card  is  attached  and  bv 
the  use  of  a  lens  hood  (see  above). 

Spreading  of  the  image  may  be  a  result  of: 

1.  Irradiation  in  the  film  emulsion  or  reflection  of 
light  from  the  small  crystals  of  silver  halide  composing 
the  emulsion.  In  the  case  of  positive  film  the  extent  of 
this  negligible. 

2.  Aberrations  in  the  lens  system  which  limit  the 
ability  of  wide  aperture  lenses  to  resolve  fine  detail.  By 
stopping  down  the  lens  or  a  wide  aperture  lens  stopped 
down  spreading  of  the  image  is  minimized. 

Lens  aberrations  are  also  of  lower  magnitude  when 
violet  light  is  used,  which  is  another  argument  in  favor  of 
mercury  vapor  illumination  for  title  work- 
As  a  result  of  experiments  to  determine  whether  the 
degree  of  spreading  of  the  image  for  a  given  background 
density  was  greater  when  giving  a  minimum  exposure  and 
developing  to  the  limit  or  when  developing  for  a  shorter 
time  and  giving  an  increased  exposure  so  as  to  secure  the 
same  background  density,  no  difference  in  the  "filling-in" 
of  the  letters  was  observed-  Nothing  is  to  be  gained, 
therefore,  by  developing  to  the  fogging  point.  As  ex- 
plained above  it  is  best  never  to  approach  the  fogging 
point  within  two  or  three  minutes. 

II.     Illustrated  Background  Titles 

An  illustrated  title  consists  of  lettering  superimposed  on 
a  picture  background  which  must  be  in  low  key  so  as  not 
to  distract  the  eye  from  the  lettering.  The  background 
may  be  made  from  an  artist's  drawing,  an  enlargement 
from  a  single  picture  frame  of  the  motion  picture,  or  by 
photographing  an  actual  setting.  The  procedure  for 
making  such  titles  may  be  outlined  as  follows : 

1.     Illustrated  Titles  by  Reflected  Light 
A.     Direct  Titles 


Eighteen 


AMERICAN     CINEMATOGRAPHER 


November,  l°2i 


Use  a  negative  drawing  or  photograph  of  background 
with  superimposed  lettering. 
B.     Indirect    Titles 

Make  a  double  exposure  first  with  a  positive  drawing 
or  photograph  and  then  with  a  white  lettered  title  on  a 
black  ground. 
2.     Illustrated   Titles  by   Transmitted  Light 

A.  Direct  Titles 

Use  film  negative  of  subject  in  contact  with  a  second 
clear  film  with  printed  lettering. 

B.  Indirect  Titles 

Make  a  positive  transparency  from  2-A  by  contact 
printing  and  then  copy  with  the  title  camera  or  make  both 
positive  and  final  negative  in  the  title  camera. 

The  photographic  quality  of  the  background  image  is 
of  great  importance  if  a  low  key  effect  is  to  be  obtained  in 
the  final  positive  with  normal  development.  It  should  be 
fully  exposed  and  very  much  underdeveloped.  When 
making  illustrated  titles  by  transmitted  light  an  idea  of 
the  density  of  the  transparency  image  at  the  various  stages 
of  the  process  is  given  in  the  following  table: 
Nature   of  Average  Maxi-  Degree   of 

Film  mum  Density  Development 

Background 


Negative 

0.7  to  0.9     1  min. 

No.  16  dev-*  65°F. 

Camera  Exposure 

(positive      ) 

1.1            Fully 

developed 

Negative 

0.9           2  min 

No.  16  dev.  65°F. 

Final    Positive 

2.0           5  min. 

No.  16  dev.    65°F. 

III.     Relief  Titles 

An  appearance  of  relief  may  be  imparted  to  the  letters 
of  a  motion  picture  title  by  adopting  the  method  employed 
by  sign  writers,  namely:  edging  the  clear  letters  with  a 
narrow  line  having  a  greater  density  than  the  surrounding 
background  so  as  to  give  the  effect  of  a  shadow  which  in 
turn  produces  a  relief  effect.  The  method  of  producing 
the  relief  effect  when  making  direct  and  indirect  titles  by 
reflected  or  transmitted  light  may  be  outlined  as  follows: 


1. 


By  Reflected  Light 
A.     Direct   Titles 


Black     letters     on 
transparent       title 
card     (!)• 

White    letters    on 
gray    ground    (2). 

White   letters,    Black 
letter    shadows,    gray 
background    (3). 

Superimpose  No-    1   and   No-  2  slightly  out-of-register 
and  copy  with  title  camera. 
B.     Indirect  Titles 
Make  negative  from  No.  3  above  or 


Black  letters  on 
transparent  title  card 
(1). 


White    letters    on 
black  ground    (2). 


Dark  letters,  Clear 
letter  shadows,  gray 
ground    (3). 


First  expose  card  No.   1,  then  make  a  double  exposure 
with  card  No.  2  slightly  out-of-register. 

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American   Society  of  Cinematographers 


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November,  1924 


AMERICAN     CINEMATOGRAPHER 


Nineteen 


THE  EXTRAVAGANCE  OF 

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The  conscientious  producer  whose  pictures  are  marked  by  excellent  photography  is 
always  critical  in  his  selection  of  the  CAMERAMAN!!  Experience  has  taught  him  that 
false  economy  in  this  portion  of  his  production  budget  is  sheer 

EXTRAVAGANCE 

The  conscientious  photographer  whose  pictures  are  a  credit  to  him  and  to  his  profession 
is  equally  critical  in  his  selection  of  the  LABORATORY. 

CHEAPNESS 

in  the  laboratory  reflects  cheapness  in  the  negative  and  prints — 

CRITICAL  SELECTION  IS  NOT  EXTRAVAGANCE 

The  Memory  of  Quality  Remains 
Long'   After  Price    is  Forgotten 

ROTHACKER-ALLER  LABORATORIES,  Inc. 

5515  Melrose  Ave.  HOLLYWOOD,  CALIFORNIA  HOllywood  7 1 80 


By  Transmitted  Light 
A.     Direct   Titles 


Black  letters  or 
transparent  t  i  t  1  < 
card    (1). 


Clear  letters    on  gray 
ground    (2). 


White  letters,  Dark 
letter  shadow,  gray 
ground    (3). 


Superimpose  No.   1  on  No.  2  out-of-register  and  copy 
the  composite  title. 

B.     Indirect  Titles 


Black     letters     on 
transparent       title 
card    (1). 

Black    letters,    Clear 
letter    shadows,    gray 
ground    (3). 

1 

Clear    letters    on 
black    ground    (2). 

First  expose  No.  1,  then  make  a  double  exposure  with 
No.  2  slightly  out-of  register. 

Illustrated  relief  titles  may  be  made  in  a  similar  man- 
ner, though  the  background  image  should  be  of  low  con- 
trast throughout  the  various  steps  of  the  process  in  order 
to  permit  of  normal  development  of  the  final  print. 

IV.     Scroll  Titles 

When  the  quantity  of  reading  matter  in  a  title  is  too 
great  to  be  accommodated  in  one  picture  frame  a  scroll 


is  often  made.  When  viewed  on  the  screen  the  lines  of 
a  scroll  move  in  a  vertical  direction  either  continuously 
or  intermittently-  The  effect  is  secured  by  printing  the 
lettering  on  a  long  sheet  and  stretching  the  sheet  between 
two  rollers  attached  to  the  easel  of  the  title  apparatus- 
The  scroll  is  then  wound  on  one  of  the  rollers  either  con- 
tinuously or  intermittently  during  cranking  of  the  camera. 
Short  scrolls  are  made  by  printing  on  an  elongated  card 
arranged  between  guides  on  the  title  card  holder  and 
moving  the  card  by  hand  during  the  exposure. 

V.     Animated  Titles 

Titles  in  which  the  letters  appear  one  by  one  and 
similar  animated  effects  are  made  in  the  same  manner  as 
animated  cartoons*. 

The  various  methods  of  securing  trick  effects  are  also 
frequently  applicable  in  making  special  titles,  but  this  is 
beyond  the  scope  of  the  present  article. 

Troubles 

1.  Lack  of  Definition.  This  may  be  a  result  either 
of  imperfect  focussing  or  "filling-in"  of  the  lettering. 
Focusing  is  facilitated  by  the  use  of  a  magnifier  or  by 
removing  the  film  and  placing  a  strip  of  matted  film  base 
in  the  camera  gate.  Matte  film  for  focusing  is  easily 
made  by  washing  the  emulsion  from  positive  film  in  hot 
water,  and  then  by  rubbing  the  film  on  a  smooth  surface 
covered  with  moistened  powdered  carborundum. 

"Filling-in"  is  a  result  of  over-exposure  or  the  use  of 
too  wide  a  lens  aperture. 

2.  "In  and  out  of  Focus  Effect"  on  the  Screen.  This 
is  a  result  either  of  insufficient  gate  tension  or  buckling 

♦Animated   Cartoons   by   E.   C.   Lutz,    Scribner's   Sons,   New   York. 


Twenty 


AMERICAN     CINEMATOGRAPHER 


November,  1924 


of  the  film  caused  by  too  rapid  drying  of  the  film.  Buckle 
may  be  prevented  by  slow  drying  and  taking  care  that  the 
film  is  not  subjected  to  tension  during  drying.  Buckled 
film  may  often  be  restored  by  re-subjecting  it  to  a  humid 
atmosphere. 

3.  Fluctuations  of  Background  Density.  This  is  caused 
either  by  unsteady  cranking  or  fluctuation  of  intensity  of 
the  title  card  illuminator.  Mercury  vapor  lamps  should 
be  allowed  to  burn  from  ten  to  fifteen  minutes  before 
commencing  work  in  order  to  attain  maximum  intensity- 
Fluctuations  in  the  line  voltage  should  be  carefully  guard- 
ed against- 

4.  Camera  Static.  This  is  often  a  result  of  excessive 
tension  or  friction  in  the  camera.  The  relative  humidity 
of  the  title  making  room  should  be  not  less  than  60%  to 
70%.  Obstinate  cases  may  be  overcome  by  allowing  the 
film  to  remain  over  night  in  a  humidor  though  excessive 
humidification  of  the  film  will  cause  sticking  and  buckling 
in  the  camera. 

5.  Unsteadiness  on  the  Screen  is  a  result  either  of  un- 
steadiness in  the  camera  mechanism  or  lack  of  rigidity  of 
the   camera  support. 

6.  Lettering  is  not  Parallel  with  Frame  Line.  Title 
card  w'as  not  level  during  taking.  The  best  method  of 
insuring  parallelism  of  frame  line  and  lettering  is  to  sight 
along  a  horizontal  straight  edge  fitted  to  the  top  of  the 
camera.  (The  End) 


(Continued  from  page  4) 

A.  Thoroughly  dry  out  a  quantity  of  clean  paper  by 
heating  in  an  oven  and  pack  loosely  in  a  box  fitted  with 
a  tight  lid.  Place  the  loosely  wound  film  in  the  center 
of  the  dry  paper  and  allow  to  remain  over  night.  The 
desiccated  paper  rapidly  absorbs  moisture  from  the  film 
and  should  be  redried  daily.  On  removing  from  the  dry- 
ing box,  repack  the  film  immediately. 

B.  A  more  rapid  method  of  drying  the  film  consists  in 
placing  the  film  in  a  container  together  with  calcium 
chloride,  which  rapidly  extracts  moisture  from  the  sur- 
rounding air.  Calcium  chloride  is  supplied  commercially 
either  in  sticks  or  as  porus  lumps  which  pulverize  when 
shaken  so  that  if  the  chloride  were  placed  in  close  contact 
with  the  film,  fine  particles  of  dust  might  be  shaken  onto 
the  film,  while  in  time  the  calcium  chloride  liquifies  and 
this  might  also  run  on  to  the  film.  It  is  better,  therefore, 
to  use  pumice  or  asbestos  wool  impregnated  with  the 
calcium  chloride  so  as  to  prevent  possible  injury  to  the 
film  by  the  pulverized  or  liquid  chemical.  Thoroughly 
soak  the  broken  pumice  or  asbestos  wool  in  a  saturated 
solution  of  the  calcium  chloride  and  then  dry  out  thor- 
oughly on  a  shovel  or  a  piece  of  sheet  iron  over  a  fire; 
place  the  pumice  on  the  bottom  of  a  wooden  box  or  metal 
can  and  support  the  film  over  this  on  a  suitable  perforated 
shelf.  A  convenient  drying  box  is  made  by  soldering 
together  two  motion  picture  film  cans  back  to  back  and 
then  perforating  the  base  now  common  to  the  two  cans. 
The  absorbent  material  may  then  be  placed  in  one  section 
of  the  twin  can  and  covered  with  a  little  absorbent  cotton 
and  the  film  placed  in  the  adjoining  section.  When  the 
pumice  or  asbestos  wool  loses  its  desiccating  property  by 
becoming  moist  it  may  be  restored  by  reheating  over  the 
fire,  and  this  process  may  be  repeated  indefinitely. 

Although  in  the  larger  motion  picture  laboratories  it  is 
possible  to  control  the  temperature  of  all  developing  solu- 
tions, many  small  laboratories  have  no  equipment  for  cool- 
ing so  that  it  is  necessary  to  work  with  solutions  at  existing 
temperatures  and  wash  water  as  high  as  90°F.     It  is, 


■^j 


SPEED!   SPEED!  SPEED! 

The  Bausch  &  Lomb  Ultra 
Rapid  Anastigmat  is  an 
f:2.7  lens.  This  not  only  is 
its  rated  speed,  it  is  the 
speed  at  which  it  actually 
performs. 

Bausch  G§P  Lomb  Optical  Co. 

Ne<w  York     San  Francisco     Washington     Chicago 
Boston  Rochester,  N.  Y.  London 


CRECO 


FOR  RENT! 


Bell  &  Howell  Cameras 

COMPLETE  EQUIPMENT 

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J.  R.  LOCKWOOD 

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Phone  Glendale   336  I -W  Glendale,   California 


Cinema  Studios  Supply  Corp. 

1438    Beach  wood     Drive 

Holly    0819 

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WIND   MACHINES  Water  Engine 


November,  1924 


AMERICAN     CINEMATOGRAPHER 


Tiventy-one 


therefore,  necessary  to  so  harden  the  film  that  it  will 
withstand  washing  at  this  temperature  and  not  become 
unduly  softened. 

Motion  picture  negative  and  positive  emulsions  as  they 
leave  the  factory  melt  in  water  at  a  temperature  around 
95°F.  At  temperatures  above  75°F.  the  emulsion  swells 
and  softens  to  such  an  extent  that  it  cannot  be  safely 
handled  on  drying  reels  without  danger  of  scratching; 
although  old  film  will  withstand  higher  temperatures  than 
films  fresh  from  the  factory,  because  the  gelatine  emulsion 
hardens  with  age.  It  is,  therefore,  necessary  necessary 
that  film  should  not  be  in  a  swollen  condition  as  it  leaves 
the  wash  water  while  it  should  be  sufficiently  hardened  so 
that  it  does  not  melt  during  drying.  Prevention  of  swell- 
ing of  the  gelatine  is  the  most  important  point  to  observe 
in  high  temperature  processing.  The  slow  drying  of  film 
in  hot  moist  climates  is  usually  a  result  not  only  of  high 
humidity,  but  of  excessive  quantity  of  water  in  the  swollen 
film  which  has  to  be  evaporated.  The  swelling  of  gelatine 
may  be  prevented  or  retarded  by  the  following  methods: 

A.  By  the  use  of  concentrated  solutions.  For  ex- 
ample, in  a  10%  solution  of  sodium  sulphate  a  gelatine 
emulsion  which  normally  melts  at  95°F.  melts  at  110°F., 
and  the  rate  of  swelling  at  any  given  temperature  is  re- 
tarded in  due  proportion.  Prolonged  development  of 
negative  film  for,  say  10  to  15  minutes  in  a  dilute  devel- 
oper, is  fatal  at  temperatures  above  80°F.  The  concentra- 
tion of  the  developer  should,  therefore,  be  so  adjusted 
that  no  appreciable  swelling  occurs. 

B.  By  the  addition  of  inactive  salts  to  the  solutions. 
Instead  of  increasing  the  concentration  of  the  developer, 
salts  such  as  sodium  sulphate,  sodium  phosphate  and  sub- 
stances such  as  glucose  and  sugar  may  be  added,  which 
both  prevent  swelling  of  the  gelatine  and  retard  develop- 
ment. Since  in  many  cases  4  or  5  minutes  is  the  most 
convenient  time  for  development,  if  a  developer  otherwise 
requires  three  minutes  at  a  given  temperature,  enough 
sodium  sulphate  may  be  added  to  retard  the  development 
time  to  5  minutes.  If,  on  the  other  hand,  it  is  desirable 
to  shorten  the  time  of  development  when  the  neutral  salt 
has  been  added,  the  concentration  of  the  developer  in- 
gredients should  be  increased. 

C.  By  permanently  hardening  the  gelatine.  When  the 
swelling  of  gelatine  is  retarded  by  the  use  of  a  concen- 
trated solution  the  gelatine  is  said  to  be  temporarily  hard- 
ened. If  in  this  unswollen  condition  it  is  chemically 
tanned  or  hardened  by  such  agents  as  formaldehyde, 
chrome  alum,  or  potassium  alum,  it  is  said  to  be  perma- 
nently hardened  and  will  swell  again  only  very  slowly  on 
immersing  in  hot  water.  It  is  obvious  that  the  gelatine 
should  be  permanently  hardened  as  early  as  possible  during 
the  development  process.  It  has  been  proposed  to  harden 
the  film  with  formalin  both  before  and  during  develop- 
ment and  Messrs.  Ilford  Ltd.3  have  patented  a  mixture 
of  formalin  and  a  salt  such  as  sodium  sulphate  for  hard- 
ening the  emulsion  previous  to  development.  However, 
it  is  necessary  to  wash  thoroughly  after  bathing  in  the 
hardener  and  previous  to  development.  The  addition  of 
formalin  directly  to  the  developer  has  also  been  recom- 
mended and  gives  satisfaction  in  certain  cases,  but  in  many 
instances  it  causes  fog,  while  for  maximum  hardening  the 
quantity  of  of  formalin  must  be  carefully  adjusted  to  the 
quantity  of  alkali  and  sulphite  in  the  developer.  The 
hardening  effect  of  formalin  in  developers  is  now  under 
investigation  in  this  Laboratory. 

At  the  outset,  the  use  of  formalin  was  definitely  aband- 

3.    British   Patent   No.    128,337;    U.    S.   Patent   No.    1,424,062. 


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TITLES 


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Twenty-two 

oned  for  deep  tank  work  owing  to  its  objectionable  odor 
and  injurious  effect  on  the  nasal  membrane  of  the  oper- 
atives. Of  the  remaining  hardening  agents,  namely,  alu- 
minum and  chrome  alums,  chrome  alum  produces  the 
greatest  degree  of  tanning,  although  a  solution  of  chrome 
alum  is  comparatively  sensitive  insofar  as  a  slight  change 
in  the  acidity  may  largely  affect  the  hardening  properties, 
while  the  hardening  properties  of  the  solution  fall  off  or 
decay  with  time  when  the  solution  is  contaminated  with 
developer. 

The  most  suitable  stage  at  which  to  harden  the  film 
with  chrome  alum  is  immediately  after  developing  and 
before  fixing.  If  a  preliminary  bath  is  given  before  de- 
velopment the  alum  must  be  thoroughly  washed  out,  other- 
wise a  precipitate  of  chromium  hydroxide  will  form  on 
the  film  in  the  developer.  Likewise,  alums  are  precipi- 
tated on  adding  to  a  developer. 

A  chrome  alum  fixing  bath  is  not  entirely  satisfactory 
because  even  without  use  the  hardening  properties  fall 
off  and  are  destroyed  in  three  or  four  days  at  high  tem- 
peratures, and  with  use  by  virtue  of  the  transfer  of  de- 
veloper, the  rate  of  falling  off  of  the  hardening  properties 
is'  still  more  rapid.  A  chrome  alum  fixing  bath  is  satis- 
factory, however,  if  used  for  not  more  than  a  day  or 
two,  but  it  is,  therefore,  uneconomical  for  deep  tank  work. 

Use  any  good  developer  which  fully  develops  in  from 
three  to  four  minutes  at  85°F.  It  is  very  important  not 
to  prolong  development  beyond  this  period  so  that  the  film 
does  not  become  unduly  swollen.  If  the  developer  re- 
quires a  longer  time  of  development,  increase  the  con- 
centration and  reduce  the  time  of  development  in  due 
proportion.  For  example,  if  a  developer  normally  re- 
quires eight  minutes  for  negative  at  85°F.  make  it  twice  as 
strong  and  it  will  then  develop  in  approximately  four 
minutes.  If  the  developer  tends  to  give  excessive  fog  at 
this  temperature  add  a  little  potassium  bromide.  If 
streaked  fog  is  produced,  which  is  caused  by  aerial  oxida- 
tion of  the  developer  during  examination  of  the  film,  add 
one  part  in  500,000  of  Pinakryptol  Green*  which  will 
entirely  eliminate  aerial  oxidation  fog. 

The  following  developer  formula  gives  results  very 
free  from  fog  with  a  minimum  of  swelling.  It  is  espe- 
cially suitable  for  use  with  negative  film. 

Metric  Avoirdupois 

P-aminophenol   (Kodelon)  7  grams  3  lbs. 

Sodium  sulphite   (desiccated)  50  21 

Sodium  carbonate  (desiccated)  50  21 

Water — to  make  1  liter  50  gal. 

After  development  rinse  the  film  for  not  more  than 
two  to  three  seconds  in  water  and  immerse  for  at  least 
three  minutes  in  the  following  hardening  solution : 

Metric  Avoirdupois 

Potassium  chrome  alum  30  grams  12  lbs. 

Water — to  make  1  liter  50  gal. 

Agitate  the  film  for  30  to  45  seconds  when  first  im- 
mersing in  the  hardener.  This  will  tend  to  prevent  any 
possible  blisters,  streakiness,  or  chrome  alum  stains.  If 
the  film  is  not  rinsed  slightly  and  agitated  as  above,  the 
alkali  in  the  developer  is  apt  to  precipitate  a  sludge  of 
chronium  hydroxide  on  the  film,  especially  with  a  par- 
tially exhausted  hardening  bath,  which  is  difficult  to  re- 
move. Blisters  may  tend  to  form  if  the  film  is  swollen 
on  immersing  in  the  hardening  bath  as  a  result  of  decom- 
position of  the  carbonate  in  the  developer  by  the  chrome 
alum,  which  is  normally  acid,  but  agitation  will  tend  to 
prevent  the  formation  of  such  blisters. 

The  hardening  properties  of  the  above  bath  depend  on 

A.     The  acidity  of  the  bath; 


AMERICAN     CINEMATOGRAPHER 


November,  1924 


•Procurable  from  H.  A.   Metz,    New   York   City. 


B.  The  alkalinity  of  the  film; 

C.  The   age   of   the  bath   and   quantity  of  developer 
carried  over  to  it  by  the  film ; 

D.  The  time  of  immersion  of  the  film  in  the  bath. 
A  plain  chrome  alum  solution   is  sufficiently  acid  to 

neutralize  a  considerable  quantity  of  alkali  carried  over 
from  the  developer  but  the  film  should  be  rinsed  in  order 
to  prevent  the  bath  from  rapidly  becoming  alkaline.  The 
addition  of  acid  to  the  bath  is  not  recommended  because 
this  tends  to  produce  blisters.  It  is  necessary,  however, 
that  the  film  should  contain  a  certain  quantity  of  alkali  on 
immersing  in  the  hardening  bath  in  order  to  secure  maxi- 
mum hardening.  As  developer  is  carried  over  the  color 
of  the  bath  changes  slowly  from  violet-blue  by  artificial 
light  when  freshly  mixed  to  a  yellow-green,  in  which  con- 
dition it  ceases  to  harden  and  should  be  replaced  with  a 
fresh  bath.  A  fresh  bath  will  remain  violet  colored  and 
retain  its  hardening  properties  indefinitely,  but  once  a 
small  quantity  of  developer  is  added  certain  chemical 
reactions  occur  which  gradually  destroy  the  hardening 
properties,  depending  upon  the  quantity  of  developer 
added.  The  hardening  bath  should  never  be  overworked 
and  a  new  bath  should  be  prepared  as  soon  as  it  ceases  to 
harden  satisfactorily. 

The  time  of  immersion  in  the  hardening  bath  should 
never  be  less  than  three  minutes,  which  is  usually  suffi- 
cient to  give  maximum  hardening. 

Any  hardening  or  non-hardening  fixing  bath  may  be 
used,  because  on  leaving  the  chrome  alum  bath  the  film 
should  be  so  hardened  that  the  gelatine  will  not  dissolve 
off  in  boiling  water.  Either  a  30%  solution  of  hypo  with 
the  addition  of  2.5%  sodium  bisulphite  or  the  regular 
alum-acid  fixing  bath  or  chrome  alum  fixing  bath  may  be 
used,   though  a  hardening  bath   is  not  necessary. 

After  thoroughly  fixing  the  film  for  about  five  minutes, 
wash  for  ten  to  fifteen  minutes.  If  running  water  is  not 
available  immerse  in  a  tank  for  five  minutes  and  in  a 
second  one  for  another  five  minutes.  A  third  immersion 
in  clean  water  will  eliminate  most  of  the  hypo,  though 
if  permanency  is  required  the  film  should  be  thoroughly 
washed  at  a  later  date  when  an  abundant  supply  of  cold 
water  is  available.  The  temperature  of  the  wash  water 
for  the  above  treatment  should  not  exceed  85°F. 

Film  may  be  successfully  washed  in  sea  water  providing 
it  is  finally  given  two  or  three  soakings  for  five  minutes 
in  pure  water.  It  is  also  desirable  to  rewash  the  film  at 
a  later  date  in  pure  water. 

If  the  temperature  of  the  solutions  and  wash  water  ex- 
ceeds 85°F.   the  following  procedure  must  be  followed: 

Any  concentrated  developer  which  gives  good  contrast 
in  from  two  to  three  minutes  at  90°F.  may  be  used,  pro- 
viding 10%  of  sodium  sulphate  crystals  is  added  to  the 
developer.  This  is  in  the  proportion  of  one  pound  of 
sodium  sulphate  per  gallon  of  developer.  It  is  very  im- 
portant to  develop  rapidly  or  the  emulsion  will  soften  and 
swell  excessively.  After  developing,  rinse  the  film  in 
water  for  one  or  two  seconds  only  and  transfer  to  the 
following  hardening  bath  for  three  minutes. 

Metric  Avoir. 

Sodium  sulphate    (crystals)  120  grams         50  lbs. 

Potassium  chrome  alum  30  12 

Water — to   make  1  liter  50  gal. 

Agitate  the  film  from  thirty  to  forty-five  seconds  when 
first  immersed  in  the  hardener  in  order  to  prevent  blisters, 
development  streaks  and  stains.  See  precautions  under 
preceding  paragraph  on  hardening  solution. 

Follow  the  instructions  given  above.  The  temperature 
of  the  wash  water  should  not  be  over  100°F. 

In  high  temperature  work  it  is  important  that  the  tem- 


November,  1924 


AMERICAN     CINEMATOGRAPHER 


Twenty-three 


perature  of  the  various  solutions  should  be  maintained  as 
nearly  constant  as  possible,  that  is,  the  temperature  of  all 
the  solutions  should  be  equal  because  if  a  swollen  film 
is  subjected  to  a  sudden  change  of  temperature,  for  exam- 
ple, if  it  is  removed  from  a  hot  solution  to  a  cold  one  and 
vice  versa,  the  gelatine  film  is  subjected  to  strain  and  a 
leather-like  graininess  of  more  or  less  coarseness  will 
appear  all  over  the  film  which  effect  is  known  as  reticu- 
lation. Recent  experiments  have  shown  that  excessive 
graininess  of  film  finished  in  hot  weather  is  a  mild  form 
of  reticulation.  The  effect  of  a  sudden  change  of  tem- 
perature is  at  maximum  when  the  film  is  excessively 
swollen  and  a  minimum  when  unswollen  and  hardened. 
Several  procedures  are,  therefore,  possible,  as  follows: 

A.  Maintain  the  temperature  of  all  solutions  equal  to 
that  of  the  wash  water. 

B.  Use  a  cool  developer  and  warm  hardener,  fixing 
bath,  and  wash  water. 

C.  Use  a  cool  developer  and  hardener  and  warm  fix- 
ing bath  and  wash  water. 

All  the  above  give  good  results  though  C  is  the  best 
procedure  if  cooling  is  possible.  The  wash  water  may  be 
either  hot  or  cold,  that  is,  once  the  film  is  tanned  in  the 
unswollen  condition  it  will  withstand  sudden  and  severe 
changes  of  temperature  without  reticulating. 

The  usual  difficulty  encountered  when  drying  film  at 
high  temperatures  when  high  humidities  usually  prevail 
is  a  result  of  excessive  swelling  of  the  gelatine  which, 
therefore,  contains  an  excessive  quantity  of  water.  If 
swelling  of  the  film  is  prevented  by  the  above  recommend- 
ed procedure,  drying  will  be  rapid  and  can  be  hastened 
by  raising  the  temperature  of  the  drying  air  which  in  turn 
raises  the  relative  humidity  without  danger  of  softening 
the  film  emulsion.  Rapid  changing  of  the  air  in  contact 
with  the  film  surface  is  also  of  importance. 

In  the  field,  a  mosquito  netting  cabinet  is  necessary  to 
prevent  access  of  insects  to  the  film. 

Excessive  graininess  of  the  film  which  is-  often  produced 
by  slow  drying  at  high  temperatures  of  excessively  swollen 
film,  does  not  occur  if  swelling  of  the  gelatine  is  pre- 
vented as  explained  above. 

Experiments  have  shown  that  the  wearing  qualities  of 
film  processed  in  the  above  manner  are  not  materially  af- 
fected as  a  result  of  the  excessive  hardening  with  chrome 
alum.  If  the  gelatine  coating,  however,  is  excessively 
swollen  at  any  period  and  especially  before  hardening,  the 
structure  of  the  finally  dried  hardened  gelatine  is  more 
or  less  spongy  and  it  has,  therefore,  much  less  strength 
than  gelatine  which  has  not  been  swollen. 

Suitable  apparatus  for  handling  motion  picture  films  in 
the  field  at  high  temperatures  has  been  described  in  pre- 
vious papers4. 

At  normal  temperatures  film  undergoes  only  a  very 
slight  change  with  age — so  slow  that  no  alteration  of  its 
physicial  properties  takes  place  for  several  years,  providing 
the  film  is  not  allowed  to  become  excessively  dry.  Under 
certain  conditions,  however,  the  film  base  undergoes  actual 
chemical  decomposition,  depending  on  the  conditions  of 
processing  and   storing. 

It  has  been  found  that  small  traces  of  impurities  in  the 
gelatine  film  such  as  residual  chemicals  left  in  the  film 
either  as  the  result  of  imperfect  fixing  or  the  use  of  an 
exhausted  fixing  bath,  or  as  a  result  of  imperfect  washing, 
or  thorough  washing  in  impure  water,  very  materially 
hastens  the  decomposition.     Film  which  is  to  be  kept  for 

4.     "A    Portable    Apparatus    for    Developing    M.    P.    Film    at    High    Tempera- 
tures,"  by  J.   I.   Crabtree.      B.   J.  Phot.   Aug.,    1918,   379. 
"The   Development  of  M.  P.  Film   by  the  Reel   and  Tank   Systems,"   by  J.   I. 
Crabtree,  Trans.  Soc.  M.  P.  Eng.  Vol.    16,  163. 


any  considerable  length  of  time  should,  therefore,  be  thor- 
oughly fixed  in  two  successive  fixing  baths  and  thoroughly 
washed  in  pure  water. 

Experience  has  also  shown  that  even  film  which  has 
been  thoroughly  fixed  and  washed  when  stored  at  high 
temperatures  rapidly  becomes  brittle,  the  film  base  under- 
goes chemical  decomposition,  and  in  a  few  years'  time  the 
film  image  is  destroyed  by  the  decomposition  products.  At 
normal  temperatures  the  rate  of  decomposition  is  negligi- 
ble, but  with  rising  temperature  above  80°F.  decomposition 
takes  place  at  a  very  rapidly  increasing  rate.  It  is  very 
important,  therefore,  that  film  should  be  stored  at  a  tem- 
perature not  higher  than  60  to  70°F.,  though  a  tempera- 
ture around  40  to  50°F.  is  to  be  preferred. 


IMPROVEMENTS  IN  CINEMA  LABORATORY 
APPARATUS 

(Continued  from  page  7) 
means  of  springs  so  that  the  film  is  maintained  as  nearly 
flat  as  possible. 

Transparency  titles  are  illuminated  by  means  of  a  bank 
of  "Cooper-Hewitt"  lamps  placed  behind  the  frame  (F) 
while  reflection  titles  are  illuminated  by  a  bank  of  lights 
placed  on  each  side  of  the  title  card  holder.  The  appa- 
ratus was  originally  fitted  with  a  bank  of  nitrogen  filled 
lamps  arranged  in  the  form  of  a  square  immediately  in 
front  of  frame  (F)  but  when  photographing  on  positive 
film  the  photographic  actinic  power  of  such  lamps  is  very 
much  lower  than  that  of  mercury  vapor  lamps  so  that 
this  method  of  illumination  was  abandoned. 

When  making  titles  by  reflected  light,  the  frame  (F) 
is  removed  by  inscrewing  clamps  (P'P2)  and  a  wooden 
board  to  which  the  cards  are  pinned  is  then  attached 
to  the  aluminum  plate  by  means  of  thumb  screws. 

It  is  apparent  from  the  above  that  when  operating,  all 
adjustments  can  be  made  while  viewing  the  title  image 
in  the  camera  gate.  In  order  to  insure  that  the  printed 
matter  is  paralled  with  the  frame  line,  it  has  been  found 
most  convenient  to  sight  across  a  straight  edge  fitted  to  the 
top  of  the  camera.  In  this  way  strict  parallelism  is  in- 
sured even  though  the  camera  itself  may  not  be  level. 

2.     A  Continuous  Film   Viewing  Machine 

This  machine  was  constructed  in  order  to  permit  of 
viewing  the  continuity  of  negative  and  positive  film  and 
for  cutting  out  defects  at  the  assembly  table.  It  has  been 
found  most  useful  for  examining  negative  film  but  for 
small  laboratories  it  should  prove  useful  for  the  final 
examination  of  positive  film  without  the  necessity  of  ex- 
amination in  the  standard  projector.  In  the  larger  lab- 
oratories a  continuous  projection  machine  would  appear 
desirable  because  it  would  be  less  liable  to  injure  the 
perforations  at  the  high  projection  speed  employed  in  many 
inspection  rooms.  It  is  impossible  to  project  film  at  three 
or  four  times  the  normal  rate  of  projection  in  an  intermit- 
tent projector  without  producing  corner  fractures  or 
otherwise  injuring  the  perforations  unless  the  projector 
mechanism  is  examined  at  very  frequent  intervals.  It  is 
important  that  more  care  in  projection  should  be  taken  on 
the  part  of  laboratories  in  order  to  insure  that  the  wearing 
qualities  of  the  film  are  not  impaired  when  it  leaves  the 
laboratory. 

By  means  of  a  single  sprocket  the  film  is  drawn  con- 
tinuously and  without  intermittency  past  an  aperture  plate 
fitted  with  a  viewing  eye-piece  and  at  the  point  when  each 
picture  frame  registers  with  the  aperture  or  gate  it  is 
instantaneously  illuminated  so  that  an  intermittent  effect 


Twenty-four 


AMERICAN     CINEMATOGRAPHER 


November,  1924 


is  secured.  The  instantaneous  flash  of  light  is  produced 
by  means  of  a  rotating  hollow  drum  fitted  with  a  hori- 
zontal slot  at  the  periphery  and  a  21 -candle  power  auto- 
mobile head-light  bulb  at  the  center.  The  hollow  drum 
is  so  geared  with  the  driving  sprocket  that  for  every 
revolution  of  the  drum  the  film  progresses  through  four 
perforations.  Two  turns  of  the  crank  handle  per  second 
gives  16  frames  per  second  at  the  viewing  aperture.  More 
or  less  flicker  of  course,  exists,  depending  on  the  rate  of 
cranking,  but  this  is  not  objectionable  and  in  no  way 
interferes  with  the  usefulness  of  the  machine  in  following 
continuity  or  cutting  out   defects. 

Sufficient  working  details  are  given  in  Figures  3  and 
4  to  enable  the  machine  to  be  constructed  by  any  good 
tool-makei. 

The  actual  machine  is  shown  in  Figure  5.  The  film  is 
passed  from  reel  (R-l)  over  idler  (1)  under  the  recessed 
gate,  over  driving  sprocket  (S),  over  illuminator  (L)  to 
the  take-up  reel  (R-2).  The  telescope  is  fitted  with  a 
three-times  magnifier  to  facilitate  viewing.  The  gate  is 
adjustable  for  framing  but  both  gate  and  sprocket  are 
recessed  so  as  to  prevent  contact  with  the  film.  The 
illuminator  (L)  serves  to  facilitate  cutting  and  is  operated 
by  footswitch  (F)  which  extinguishes  the  drum  light  (B) 
when  (L)  is  illuminated.  For  continuous  service  a  motor 
drive  would  be  preferable. 

No  originality  is  claimed  for  the  fundamental  principle 
of  this  machine  which  is  designed  on  the  lines  of  an  experi- 
mental model  constructed  by  Messrs.  Newman  and  Sin- 
clair, London. 

3.     An  Improved  Semi-Automatic  Sensitometer 

In  a  previous  paper  by  Jones  and  Crabtree1  an  auto- 
matic sensitometer  for  timing  negatives  was  described  and 
in  a  later  communication2  details  for  constructing  a  simple 
modification  of  his  instrument  were  given.  This  modified 
instrument  is  essenially  similar  to  a  printer  box  as  em- 
ployed by  the  professional  photographer  for  making  paper 
prints.  The  negative  and  positive  are  placed  over  a  graded 
sensitometer  tablet,  over  which  is  fitted  a  pressure  platen. 
Underneath  this  tablet  an  illuminator  is  fitted  and  so  ar- 
ranged that  on  pressing  the  platen  the  tablet  is  illuminated, 
and  extinguished  when  the  platen  is  released.  The  time 
of  exposure  is  determined  by  means  of  a  clock. 

Experience  with  this  machine  soon  indicated  that  some 
method  of  automatically  timing  the  exposure  was  neces- 
sary and  of  the  various  methods  of  accomplishing  this,  an 
electrical  device  was  considered  the  most  economical  and 
easy  to  construct  and  this  was  adopted  as  follows : 

The   Timing  Device 

This  consists  essentially  of  a  means  for  making  and 
breaking  the  lamp  circuit  for  definite  time  intervals  and 
is  effected  by  driving  a  cam  with  a  constant  speed  motor, 
the  cam  in  turn  operating  a  sliding  contact. 

With  such  a  device  it  was  found  necessary  to  install  a 
method  of  signalling  which  would  indicate  to  the  operator 
when  to  press  and  when  to  release  the  platen  and  this  was 
effected  as  follows :  Referring  to  figure  6,  the  constant 
speed  motor  drives  two  cams  attached  to  a  common  shaft, 
one  of  the  cams  operating  a  contact  breaker  for  the  ex- 
posure lamp  circuit  while  the  other  cam  operates  the 
signal  lamp  circuit.  The  signal  circuit  soon  over-laps  the 
exposure  lamp  cam  at  both  ends  so  that  the  signal  lamp 

1.  A  New  Sensitometer  for  the  Determination  of  Exposure  in  Positive  Printing, 
by  L.  A.  Jones  and  J.  I.  Crabtree.    Trans.  Soc.  M.  P.  Eng.   15,   1922  p.  89. 

2.  Development  of  Motion   Picture   Film   by  Reel    and  Tank   Systems,   by   J.   I. 
Crabtree.    Trans.   Soc.   M.  P.   Eng.    16,    1922  p.    163. 


lights  about  1  second  before  the  exposure  lamp  and  re- 
mains lighted  until  the  latter  is  extinguished.  In  this  way 
the  operator  is  warned  not  to  press  the  platen  while  the 
red  signal  lamp  is  illuminated. 

The  length  of  the  exposure  is  determined  by  the  angu- 
lar measurement  of  the  cam  and  in  the  instrument  de- 
scribed this  was  adjusted  so  that  a  constant  exposure  of 
two  seconds  was  given.  When  matching  the  timer  with 
the  printer  the  intensity  of  the  sensitometer  lamp  is  ad- 
justed by  means  of  a  rheostat  and  volt  meter. 

In  order  to  prevent  an  error  on  the  part  of  the  operator 
when  pressing  the  platen  a  signal  bell  was  installed  which 
rings  whenever  an  error  is  made.  The  mechanism  of  this 
is  shown  in  Figures  7  and  8. 

The  platen  when  pressed  operates  a  3  point  switch 
(Fig.  8).  The  two  lower  contact  points  are  in  circuit 
with  a  set  relay  which  in  turn  is  in  circuit  with  the  electric 
bell.  If  the  platen  is  pressed  or  released  when  the  timing 
device  is  making  contact  in  the  exposing  lamp  circuit,  a 
current  flows  and  actuates  the  set  relay,  causing  the  bell 
to  ring.  Ringing  of  the  bell,  therefore,  indicates  that 
either  (a)  the  platen  was  pressed  or  released  at  the  wrong 
time  or  (b)  that  the  pressure  on  the  platen  was  not 
sufficient. 

The  set  relay  is  shown  in  Figure  7.  Whenever  the  bell 
rings  the  relay  must  be  reset  by  pulling  out  the  "choke" 
handle  (C).  The  wiring  diagram  (8)  is  self-explana- 
tory. 

The  sensitometer  proper  is  shown  in  Figures  9  and  11. 
The  sensitometer  tablet  is  inset  in  the  top  of  the  central 
box  which  is  fitted  with  a  monofilament  tubular  lamp  (L) 
a  signal  lamp  (S)  and  a  safelight  (G)  to  the  left  of  the 
tablet,  each  lamp  working  independently  in  a  separate 
compartment.  The  safelight  (G)  is  for  the  purpose  of 
registering  the  frame  lines  of  the  negative  with  those  of 
the  tablet.  The  adjusting  pins  (A)  are  to  assist  in  the 
registration.  The  volt  meter  (V)  illuminated  by  lamp 
(I)  indicates  the  lamp  voltage,  which  in  turn  is  controlled 
by  rheostat  (R).  The  "choke"  (C)  is  for  resetting  the 
relay.  The  authors  are  indebted  to  Mr.  A.  C.  Hardy, 
formerly  of  this  laboratory,  for  valuable  assistance  in  de- 
signing the  timing  and  signalling  devices. 

4.     Safety  Devices 

Whenever  inflammable  material  such  as  cellulose  ni- 
trate film  is  handled,  great  care  must  be  exercised  to 
prevent  any  possible  short  cicruit  in  the  electrical  system 
while  care  must  also  be  taken  that  film  does  not  come  into 
contact  with  heated  radiators,  which  should  be  screened, 
or  with  electric  lamp  bulbs.  The  heat  from  an  ordinary 
electric  bulb  is  sufficient  to  ignite  a  piece  of  nitrate  film 
which  may  happen  to  be  in  contact  with  it  for  a  sufficient 
length  of  time.  Waste  film  should  also  be  immediately 
placed  in  a  metal  container.  With  a  view  to  eliminating 
danger  from  the  above  causes  the  following  devices  have 
been  adopted : 

(A) — A  Safe  Electrical  Plug  and  Socket 

The  ordinary  screw  electrical  socket  is  apt  to  cause 
arcing  if  unscrewed,  when  the  electrical  circuit  is  com- 
plete, while  if  the  cable  is  strained  a  short  circuit  is  apt  to 
result  from  crossing  of  the  wires.  The  ordinary  two 
prong  type  of  plug  is  not  satisfactory  because  it  is  not 
possible  to  ground  a  machine  with  such  a  plug,  although  if 
any  strain  is  placed  on  the  cable  the  plug  usually  becomes 
disconnected,  thus  eliminating  the  danger  of  a  short 
(Continued   on  Page  25) 


November,  1924 


AMERICAN      C  I  N E M AT O GR A PHER 


Twenty- five 


New  Bell  &  Howell  Professional  Model  Out 


Direct  Focusing  on  Ground 
Glass  Embodied  in  New 
Standard  Camera. 


^SF 


Features  of  New  Model  An- 
nounced in  Detail  for  the 
First  Time. 


Many  rumors  which  developed  in  the  last  several 
months  about  the  features  of  the  new  Standard  Bell  and 
Howell  camera  have  now  been  definitely  settled  by  an- 
nouncement of  the  company's  plans  in  last  month's  issue 
of  the  American  Cinematographcr  and  by  the  actual  re- 
ceipt in  Hollywood  territory  of  the  first  of  this  much 
discussed  model. 

The  model  now  on  display  at  the  Hollywood  branch 
of  the  Bell  and  Howell  Company  is  a  source  of  wide- 
spread interest.  Those  who  have  viewed  it  point  out  the 
fact  that  the  new  improvements  facilitate  the  ease  of 
operation  of  the  camera,  thus  making  possible  the  con- 
servation of  valuable  time  and  corresponding  dollars. 

Direct  Focusing 

One  of  the  most  important  features  is  the  new  direct 
focusing  arrangement.  The  focusing  is  now  accomplished 
by  two  direct  methods  from  the  rear  of  the  camera  with  the 
aid  of  a  telescopic  magnifier  in  combination  with  double 
right  angle  prisms.     These  methods  are  as  follows: 

1.  Focusing  on  the  film. 

2.  Focusing  direct  at  the  aperture  upon  a  ground  glass. 

In  either  method  selected  it  is  noted  there  is  no  neces- 
sity of  shifting  any  part  of  the  camera  or  swinging  the 
lens  out  of  position  or  moving  any  of  the  front  vignetting 
attachments. 

Image    Upright 

When  it  is  desired  to  focus  on  the  film  a  lever  is 
pressed  which  opens  a  curtain  in  the  prism,  and  a  direct 
view  of  the  field  is  obtained  and  enlarged  with  the  use  of 
the  telescope  tube.  A  single  operation,  that  of  pressing  the 
curtain  lever,  accomplishes  the  means  for  direct  focusing 
by  this  method.  The  image  remains  in  an  upright  po- 
sition. 

When  it  is  desired  to  focus  on  the  ground  glass  for  real 
hypercritical  focusing,  a  full  frame  in  the  film  is  auto- 
matically cut  out  by  pressing  a  lever  on  the  camera.  A 
press  of  another  lever  automatically  moves  the  prism  cur- 
tain and  slides  a  ground  glass  into  position  at  the  photo- 
graphic aperture  exactly  in  the  focal  plane.  As  in  the 
first  method  described,  the  image  is  upright  and  with  the 
use  of  the  telescopic  magnifier  a  clear  and  brilliant  field 
is  obtained.  The  notable  feature  of  this  method  of  focus- 
ing is  summed  up  in  three  sample  instantaneous  opera- 
tions performed  entirely  from  outside  of  the  camera,  being 
all  that  is  required  to  do  what  previously  took  eight  or 
nine   operations. 

Nearer  Focal  Plane 

Another  new  feature  of  interest  is  the  removable  photo- 
graphic aperture  permitting  the  insertion  of  contact  matts 
which  are  placed  nearer  the  focal  plane  than  has  here- 
tofore been  possible. 

New  Finder  System 

Still  another  feature  is  the  new  finder  system  which 
employs  a  common  finder  and  matts  to  match  the  individ- 


ual photographic  lenses.  A  clear,  brilliant  and  four  or 
five  times  magnified  view  is  obtained  through  the  use  of 
this  feature. 

Graduated  means  are  also  provided  for  obtaining  the 
effect  of  a  rising  and  falling  front,  so  often  desirable  on 
settings  requiring  deletion  of  certain  portions  which  is 
readily  accomplished  now  without  resetting  position  of 
camera. 

Fit  Present  Model 

In  connection  with  these  new  improvements,  it  is  an- 
nounced that  they  may  be  incorporated  in  the  older  and 
present  models,  thereby  eliminating  the  necessity  of  invest- 
ing in  an  entirely  new  camera  to  obtain  later  improve- 
ments. This  feature  is  highly  appreciated  by  Bell  and 
Howell  owners  since  it  makes  possible  deriving  the  bene- 
fits of  the  new  features  without  discarding  the  older 
models. 

Mr.  G.  E.  Richards,  manager  of  the  Hollywood  branch 
of  the  Bell  and  Howell  Company,  has  made  arrangements 
to  take  care  of  all  those  who  wish  to  become  acquainted 
with  the  working  details  of  the  new  model.  Likewise, 
the  Bell  and  Howell  organization  has  completed  com- 
prehensive plans  for  the  installation  of  the  new  features  on 
present  Bell  and  Howell  models. 


(Continued  from  Page  24) 
circuit.  A  satisfactory  plug  should  not  arc;  it  should 
become  disconnected  if  the  cable  is  strained,  and  it  should 
be  possible  to  ground  a  machine  through  the  plug.  A  plug 
and  socket  fulfilling  these  conditions  is  shown  in  Figure 
12.  It  is  essentially  similar  to  the  ordinary  two  prong 
plug  excepting  that  it  is  of  more  rugged  construction  and 
is  fitted  with  an  outside  metal  collar  which  fits  over  a 
second  metal  collar  surrounding  the  socket  which,  in  turn, 
is  in  connection  with  the  grounded  conduit.  In  this  way 
it  is  possible  to  ground  a  machine  through  the  armored 
cable  which  is  soldered  to  the  plug. 

(B) — An  Inspection  and  Assembling  Table 

Many  laboratory  inspection  tables  are  fitted  with  an 
illuminator  which  is  set  in  an  aperture  in  the  table  top 
but  such  an  illuminator  is  dangerous  because  particles  of 
film  are  apt  to  fall  on  the  heated  lamp  bulb  with  the  pos- 
sibility of  fire,  while  there  is  also  possibility  of  fire  from 
short  circuiting  of  lamp  wires.  A  safe  inspection  table  is 
shown  in  Figure  13.  The  table  is  of  steel  and  is  covered 
with  an  opal  glass  or  "Vitrolite"  top,  the  reflected  light 
from  which  is  usually  sufficient  for  inspecting  film,  al- 
though extra  illumination  may  be  obtained  by  means  of 
an  inclined  mirror  (M)  (Fig.  13)  which  reflects  either 
daylight  or  light  from  the  vapor  proof  enclosed  lamp  sus- 
pended above  the  table. 

Waste  scraps  of  film  are  swept  into  the  film  container 
attached  to  the  right  hand  edge  of  the  table.  The  container 
is  fitted  with  a  door  hinged  at  the  upper  edge  so  that  it 
normally  remains  closed  or  if  the  contents  take  fire,  (vent 
holes  are  fitted  at  the  side)  but  opens  inwardly  on  pressure 
with  the  hand.  The  contents  are  removed  by  opening  a 
sliding  door  fitted  in  the  bottom. 


Twenty-six 


AMERICAN      CINEMATOGRAPIIER 


November,  1924- 


Focus  Direct  on  Film  or  on  Ground  Glass 

with  new 

BELL&HOWELL 

Standard  Camera 

Three  simple  operations  performed 
from  the  rear  of  the  camera  now  per- 
mit FOCUSING  DIRECT  at  the 
photographic  aperture  on  a  ground 
glass — 

— without  shifting  any  part  of  the 
camera ; 

— without  swinging  the  lens  out  of 
position ; 

— without  moving  any  of  the  front 
vignetting  attachments. 

Or  FOCUS  DIRECT  on  the  film 
in   one   operation. 

THE  IMAGE  REMAINS  IN 
AN  UPRIGHT  POSITION, 
and  is  enlarged  5  or  10  times  by 
means  of  a  telescopic  magnifier. 

Other  new  features  are :  The  RE- 
MOVABLE APERTURE  which 
permits  the  sliding  in  of  mattes  nearer 
the  focal  plane  than  heretofore  possi- 
ble; and  the  NEW  FINDER  system 
employing  a  common  finder  and 
mattes  to  match  individual  photo- 
graphic lenses. 

Cinematographers  agree  that  these 
new  and  novel  improvements  facili- 
tate the  ease  and  art  of  cinematog- 
raphy. 

Directors  rejoice  in  the  fact  that 
they  will  save  time — and  many  dol- 
lars— in  each  set-up. 

And  owners  are  happy  to  know 
that,  in  pursuance  with  customary 
policies  of  this  company  to  give  their 
users  every  benefit  with  the  least  pos- 
sible expense,  these  new  improvements 
may  be  built  into  the  present  Bell  & 
Howell  Camera. 

The  new  camera — the  talk  of  the 
Industry — is  now  on  display  at  our 
Hollywood  nad  New  York  offices. 


Cameras  must  be 
sent  to  our  factory 
to  have  new  fea- 
tures  embodied. 


ESTABLISHED 
1907 


BRANCHES 
NEW  YORK  HOLLYWOOD 

220  W.  42NO  ST.        6324  SANTA  MONICA  BLVD. 


1801  LARCHMONT  AVE. 
CHICAGO. 


Orders  now  being 
accepted  at  branch 
offices  or  direct  at 
Chicago  office. 


Pioneer     and     world's     largest     manufacturers    of    cinematograph    cameras    and    equipment 


HOW  TO  LOCATE  MEMBERS  OF  THE 

American 
Society  of  Cinematographers 

Phone  GRanite  4274 
OFFICERS 

Gaetano  Gaudio --......  President 

Gilbert  Warrenton  ...----._..  Vice-President 

Karl  Brown  ------------       Vice-President 

Homer  A.  Scott         ------------  Vice-President 

Charles  J.  Van  Enger  -----------        Treasurer 

Victor  Milner  ._-_-_.- Secretary 


Victor  Milner 

Philip  H.  Whitman 
James  C.  Van  Trees 
Frank  B.  Good 
H.  Lyman  Broening 


BOARD  OF  GOVERNORS 

Homer  A.  Scott 
Fred  Jackman 
Charles  J.  Van  Enger 
Gaetano  Gaudio 
Gilbert  Warrenton 


King  D.  Gray 
Reginald  Lyons 
Paul  P.  Perry 
John  F.  Seitz 
Karl  Brown 


Abel,  David — with  Warner  Brothers. 

Arnold,  John — with  Metro-Goldwyn-Mayer  Picture  Corp. 

Barnes,  George  S. — with  Cosmopolitan. 

Beckway,    Wm. — 

Benoit,   Georges — 

Broening,    H.    Lyman — 

Boyle,  John  W. — with  Metro-Goldwyn-Mayer  Picture  Corp. 

Brodin,  Norbert  F. — Frank  Lloyd  Productions,  First  National.  United 

Studios. 
Brotherton,  Joseph — 

Brown,  Karl — with  James  Cruze,  Famous  Players-Lasky. 
Clark,    Dan — with    Tom    Mix,    Fox    Studio. 
Cowling,    Herford    T. — Travel    Pictures,    Asia. 
Cronjager,  Henry — with  Famous  Players-Lasky,  New  York  City. 
Dean,    Faxon   M. — with   Famous   Players-Lasky,    New    York   City. 
Doran,    Robert    S. — with    Hal    Roach   Studio. 
Dored,  John — Riga,  Latvia. 
Dubray,  Joseph  A. — 
DuPar,    E.    B.— with    Warner    Bros. 
DuPont,   Max    B.— Tahiti. 

Edeson,  Arthur — with  First  National,  United  Studios. 
Evans.    Perry — 
Fildew,  Wm. — - 
Fischbeck,     Harry    A. — with    Ritz    Carlton    Pictures,     starring    Rudolph 

\  a  lent i no. 
Fisher,   Ross  G. — with   A.  J.   Brown   Productions.   Russell   Studio. 
Gaudio,   Gaetano — with  Norma  Talmadge,   Joseph  Schenck  Productions; 

United    Studios. 
Gilks,  Alfred — with  Famous  Players-Lasky. 
Glennon,  Bert — with    Paul  Bern,  Famous  Players-Lasky. 
Good.    Frank    B. — 
Granville     Fred     L. — directing,        British       International       Corporation. 

London. 
Gray.    King   D. — 
Griffin,  Walter  L.— 
Guissart.    Rene — 
Haller,  Ernest — Del  Andrews  Prod. 
Heimerl.    Alois    G. — 

Jackman,   Floyd — with    Fred    \\*.   Jackman   Prods. 
Jackman.     Fred    \Y. — directing    Fred    W.     fackman     Prods.,    Hal    Roach 

studios. 
Jennings,   J.    D. — with    First   National,   United    Studios. 
Koenekamp,    Hans   F. — with    Larry   Semon. 
Kull,     Edward — with    Universal. 

Edison.    Thomas    A 


Kurrle,  Robert — with  Edwin  Carewe,  United  Studios. 

Landers,    Sam — 

Lockwood,    J.    R. — 

Lundin,    Walter — with   Harold   Lloyd   Productions,   Hollywood   Studios. 

Lyons,    Reginald — with    Fox. 

MacLean,  Kenneth  G. — with  "Ben-Hur,"  Rome,  Italy. 

Marshall,  Wm. — with  Carlos  Prods. 

Meehan,    George — with    Henry    Lehrman,    Fox. 

Milner,     Victor — with    Famous    Players-Lasky. 

Morgan,    Ira    H. — with    Cosmopolitan. 

Norton,  Stephen  S. — with  Universal  Pictures  Corp. 

Overbaugh,    Roy   F. — New   York   City. 

Palmer,    Ernest    S. — 

Perry,    Harry — 

Perry,    Paul    P. — with   Douglas   MacLean.    F.   B.   O.    Studios. 

Polito,  Sol — with  Hunt  Stromberg  Productions. 

Ries,    Park   J.— 

Rizard.  Georges — New  York  City. 

Roos,  Len  H.  — Leigh-Spencer  Bldg.,  Vancouver,  B.  C. 

Rose,  Jackson  J. — Clarence  Brown,  Universal. 

Rosher,    Charles — with    Mary    Pickford,    Pickford-Fairbanks    Studio. 

Schneiderman,    George — with    Fox. 

Scott,  Homer  A. — First  National,  United  Studios. 

Seitz,    John    F. — with    Rex    Ingram.    Europe. 

Sharp,    Henry — with   Thomas    H.    Ince. 

Short,    Don — 

Smith,    Steve.    Jr. — with    Vitagraph    Studio. 


Microscopic    Pictures,    Princi- 


YVebb,    Arthur   C. — Attorney. 


Steene,   E.   Burton — 
Stumar,    Charles — with    Universal. 
Siuinar,  John — with    Universal. 
Tolhurst,    Louis    H. — "Secrets    of    Life,' 

pal    Pictures    Corporation. 
Totheroh.    Rollie   H. — with  Charlie   Chaplin,   Chaplin   Studio. 
Turner,  J.  Robert — with  Fox. 
Van    Buren,    Ned — 
Van    Enger.    Charles — witli   Universal. 

Van   Trees,   James   C. — with   First   National,    New   York   City. 
Warrenton,    Gilbert — 

Whitman,  Philip  H. — with  Famous  Players-Lasky,  New  York  City. 
Wilky,  L.  Guy — with  William  de  Mille,  Famous  Players-Lasky. 
Honorary    Member. 


Meetings    of    the   American    Society    of    Cinematographers    are    held    every  Monday   evening.    On    the   first   and    the   third   Monday  of   each    month 
the   open    meeting    is    held;    and    on    the   second   and   the   fourth,  the    meeting    of    the    Board    of   Governors. 

1219-20-21-22  GUARANTY  BUILDING 

Hollywood   Boulevard   and    Ivar    Avenue 

Hollywood.  California 


LOYALTY 


PROGRESS 


ART 


Principal  Pictures  Corporation 

7250   SANTA   MONICA   BOULEVARD 
LOS  ANGELES.  CALIF. 


Office  of  the  President 


August  6th  1524 


Mitchell  Camera  Company, 
6025  Santa  Monica  Blvd., 
Los  Angeles,  California. 


Gentlemen: 


Attention  Mr.  H.  7.   Boeger! 


On  location  in  Arizona  where 
the  peculiar  atmospheric  conditions 
make  motion  picture  photography  an  art, 
camera  equipment  is  one  of  the  most 
important  links  in  the  chain. 

Mitchell  camerasare  now  being 
used  by  Director  Sam  Wood  in  the  filming 
of  the  Harold  Bell  Wright  3tory  THE  MINE 
WITH  THE  IRON  DOOR  in  the  Arizona  desert. 

Very  truly  yours, 

COBPORAjgQN 


S 


Vol.  V 
No.  9 


December,  1924 


25  Cents 
A  Copy 


American 
Cinematographer 

Published  by  the  American  Society  of  Cinematographers ,  Inc. 


FILM  TRUTH  AND  PROSPERITY  IN  ADVERTISING 
By  Herbert  S.  Houston 

JACKSON  J.  ROSE,  A.  S.  C,  PICTURIZES 
FANTASTIC  INVENTION 

THE  STILLS  PROBLEM  SOLVED 
By  H.  Gordon  Coward 

HEREFORD  TYNES  COWLING,  A.  S.  C,  RETURNS 
TO  U.  S.  A. 


PUBLISHED  IN     HOLLYWOOD     CALIFORNIA 


^VXS^S^V-^V^.V'XV 


Rele 


ases 


October  26,   1924  to  November  24,   1924 


TITLE 


PHOTOGRAPHED  BY 


Flattery 

The  Great  Diamond  Mystery 
Christine  of  the  Hungry  Heart 
The  Battling  Orioles 

The  Story  Without  A  Name 

The  Virgin 

Darwin  Was  Right 

The  Only  Woman 

In  Every  Woman's  Life 

Manhattan 

The  Snob 

Hot  Water 

He  Who  Gets  Slapped 

Is  Love  Everything? 

Turned 

This  Woman 

Worldly  Goods 

The  Tornado 

The  Garden  of  Weeds 

The  Silent  Accuser 

The  Border  Legion 

The  Torrent 

Robes  of  Sin 

Madonna    of   the   Streets 

White   Man 

Thundering  Hoofs 

East  of  Broadway 

The  Lover  of  Camille 

Black  Lightning 

Barriers  of  the  Law 

The   Brass  Bowl 

The    Beloved    Brute 

Oh,    Doctor! 

Lovers     Lane 

The  Midnight  Express 

The   Greatest   Love   of   All 

Classmates 

The  Fast  Set 
That  Wild  West 
Chalk    Marks 


Harry  Perry  and  King  D.   Gray 

members  A.  S.  C. 
Not   Credited 

Henry  Sharp,    member  A.   S.   C. 
Floyd   Jackman,    member  A.   S.   C.   and 

George  Stevens 
Hal  Rosson 

Roland  Price,  Edgar  Lyons  and  Paul  Allen 
J.    Robert  Turner,   member  A.  S.  C. 
Gaetano  Gaudio,  member  A.  S.  C. 
Arthur  L.   Todd 
Hal   Rosson 
Andre   Barlatier 

Walter  Lundin,  member  A.  S.  C. 
Milton  Moore 

Walter   Arthur   and    Philip   Armand 
Ernest  Miller 

H.    Lyman   Broening,   member  A.   S.   C. 
Bert  Glennon,  member  A.  S.  C. 
John  Stumar,  member  A.  S.  C. 
Karl  Brown,  member  A.  S.  C. 
Charles  Dreyer 
Alvin    Wyckoff 

Roland  Price,  Edgar  Lyons  and  Paul  Allen 
Ross  Fisher,  member  A.  S.  C. 
Robert  B.  Kurrle,  member  A.  S.  C. 
Karl  Struss 

Ross  Fisher,  member  A.  S.  C. 
Lucien  Andriot 
David  Abel,  member  A.  S.  C. 
Jack  MacKenzie 
Walter  Griffin,  member  A.  S.  C. 
Not  Credited 

L.   Wm.  O  Connell  and  Ernest  Smith 
Gilbert  Warrenton,  member  A.  S.  C. 
H.   Lyman  Broening,  member  A.  S.  C. 
Allen  Thompson  and  Dewey  Wrigley 
Not    Credited 
Roy  Overbaugh  and  John  Seitz, 

members  A.  S.  C. 
L.   Guy  Wilky,  member  A.  S.  C. 
Roland  Price 
Jos.  Walker 


Vol.  5                                              DECEMBER,  1924 

No.  9 

American 

Foster  Goss,  Editor  and  Business  Manager 
Board  of  Editors — Victor  Milner,  H.  Lyman  Broeninc,    Karl    Brown,    Philip    H. 

Whitman 

Contents 

Page 

Film  Truth  and  Prosperity  in  Advertising — 

By  Herbert  S.  Houston         ...... 

4 

Jackson  J.  Rose,  A.  S.  Cv  Picturizes  Fantastic 

Invention 

5 

The  Stills  Problem  Solved — By  H.  Gordon  Coward 

7 

Herford  Tynes  Cowling,  A.  S.  C,  Returns  to  U.  S.  A. 

8 

Investigations  on  Photographic  Developers — 

By  Merle  L.  Dundon  and  J.  I.  Crabtree 

9 

The  Editors'  Lens 

10 

Manhattan  Mutterings — By  Philip  H.  Whitman,  A.S.C. 

12 

In  Camerafornia 

13 

RExNE  Guissart,  A.  S.  C,  on  Big  "BExN  Hur"  Job 

23 

A.  S.  C.  Acquires  Another  Office  in  Guaranty  Building 

24 

An  educational  and  instructive  publication,  espousing  progress    and   art   in   motion   picture 

photography. 

Published  monthly  by  THE  AMERICAN  SOCIETY    OF    CINEMATOGRAPHERS 

,    Inc. 

Subscription  terms:  United  States,  $3.00  a  year;  Canada,  $3.$0  a  year;  foreign,  $4.00  a  year 

single  copies 

25  cents.     Advertising  rates  on  application. 

1219-20-21-22  Guaranty  Building,  Hollywood,  California                                              Telephone, 

GRanitc  4274 

(Copyright,  1924,  by  the  American  Society  of  Cinematographers,  Inc.) 

Four 


AMERICAN      CINEMATOGR  APHER 


December, 1924 


Film  Truth  and  Prosperity  in  Advertising 


Associated  Advertising  Clubs 
Take  Hand  to  Combat  Fake 
Promoters  Evil. 


By  Herbert  S.  Houston 

Chairman    of   Board   of    Trustees,    National 

Vigilance     Committee,     Associated 

Advertising    Clubs 


Urge  Co-operation  to  Weed 
Out  Offenders  who  Prey  up- 
on Popularity  of  Films. 


(The  following  story,  disseminated  by  the  National  Vigilance 
Committee  of  the  Associated  Advertising  Clubs,  is  an  example 
of  the  work  being  done  to  wipe  out  the  activities  of  the  fraudu- 
lent motion  picture  promoters  who  have  found  a  thriving  busi- 
ness in  preying  upon  the  credulity  of  communities  in  various 
parts  of  the  country. — Editor's  Note.) 

The  American  public  is  interested  in  mo- 
tion pictures.  It  is  more  interested  in  motion 
pictures  perhaps  than  any  industry  or  any 
form  of  entertainment  with  which  it  has  yet 
come  in  contact. 

It  is  so  interested  in  motion  pictures  that 
it  has  come  to  feel  itself  a  part  of  them.  The 
closeup  and  other  mechanical  agents,  the  uni- 
versal human  appeal  which  most  writers, 
actors  and  directors  try  to  infuse  into  their 
productions  and  the  fact  that  movies  every 
week  reach  virtually  the  entire  population  of 
the  United  States,  tend  to  accentuate  this  fam- 
iliarity. 

The  motion  picture  has  become  part  of 
the  American  people.  Almost  to  the  extent 
that  the  public  schools  provide  their  educa- 
tion, the  movies  provide  their  entertainment. 

Have  you  ever  sat  through  a  motion  picture 
twice?  And  the  second  time,  instead  of 
watching  the  screen,  have  you  ever  watched 
the  audience? 

What  you  saw  on  the  faces  of  those  people  perhaps 
revealed  to  you  how  deeply  the  "movies"  have  become 
woven  into  American  life.  As  the  lovers  of  the  story 
embraced  in  the  final  fadeout,  there  was  not  a  woman 
in  the  audience  but  felt  herself  the  heroine  of  the  screen. 
Not  a  man  but  felt  himself  the  hero. 

Natural  Ambition 

Nearly  all  of  us  at  one  time  or  another  have  wanted 
to  participate  in  this  great  American  institution  of  the 
"movies."  For  here,  either  as  actor,  author  or  director, 
lay  fame  and  wealth.  And  here,  too,  lay  the  mysterious 
machinery  which  could  build  dream  worlds  for  us  all. 
Small  wonder  it  was  we  wanted  to  learn  to  operate 
machinery. 

And  so,  when  the  doubtful  film  company  promoters,  the 
acting  and  scenario  school  agents  came  along,  they  found 
a  fertile  filed  for  their  efforts. 

Stock  Sellers 

In  the  stock  selling  line  these  promoters,  using  the 
confidence  which  the  American  people  felt  in  the  great 
motion  picture  industry  as  a  lever,  were  able  to  enlist 
the  support  of  business  men  of  unquestioned  honesty 
and  integrity  in  many  cities. 

Sometimes  the  bait  employed  was  that  local  talent 
would  be  used  partly  or  entirely  in  the  production.     No 


business  man  with  an  attractive  daughter  could  be  ex- 
pected to  object  to  aiding  her  to  fame  in  the  motion 
picture  field.  Perhaps  many  of  these  business  men  them- 
selves cherished  a  secret  ambition  to  appear  before  the 
camera. 

Getting   Support 

Add  to  that  the  fact  that  the  hometown  and  its  attract- 
ive environs  would  be  advertised  far  and  wide  through 
the  films,  and  the  local  business  men  were  more  than 
willing  to  lend  their  names  and  influence  to  such  projects. 

No  Questions  Asked 

Often  they  did  not  ask  for  the  promoter's  credentials, 
nor  for  any  evidences  of  his  ability  to  put  over  such  a 
difficult  enterprise.  They  did  not  ask  him  to  show  them 
how  he  would  make  the  pictures  nor  what  arrangements 
he  had  made  for  releasing  and  distributing  them  after 
they  had  been  made. 

Perhaps  in  their  great  loyalty  they  felt  that  anything 
made  by  their  home  people  in  their  home  town  must  be 
of  interest  to  the  rest  of  the  world.  Their  own  Sally 
Green,  who  was  leading  woman  in  the  High  School 
Dramatic  Club,  was  another  Mary  Pickford,  while 
Johnny  Burke,  who  worked  in  Jenkin's  Grocery  Store, 
could  think  up  more  ingenious  plots  than  C.  Gardner 
Sullivan   or   Booth   Tarkington. 

The  Magic 

And  the  same  type  of  people  who  encouraged  the  fraud- 
ulent stock  salesman  also  encouraged  the  motion  picture 
scenario  and  acting  schools.  Sally  Green  was  convinced 
that  the  only  difference  between  her  and  Mary  Pickford 
was  training.  No  matter  how  dumb  or  how  awkward 
Sally  Was,  somebody's  course  in  ten  or  twenty  lessons — 
for  the  payment  of  $50  or  $150 — would  make  up  for  all 
her  shortcomings. 

And  Johnny  Burke's  literary  and  imaginative  short- 
comings would  also  be  filled  by  a  "Photoplaywright's" 
course.  The  cost  of  the  course  would  be  only  about  $75, 
and  Johnny  would  receive  $1,000  for  his  first  scenario 
accepted.  That  net  him  $925  on  his  first  scenario,  which 
was  quite  a  fair  profit. 

The  Long  Chance 

The  photoplay wright  or  the  dramatic  schools,  how- 
ever, did  not  tell  their  pupils  that  hardly  one  in  a  thous- 
and of  those  who  took  the  courses  would  ever  be  able 
to  take  part  in  the  movies.  They  did  not  tell  them  of 
the  thousands  of  men  and  women  who  daily  seek  work 
in  Hollywood  and  who  are  turned  down  daily. 

The  schools  tell  them  only  of  the  handful  of  successes 
who  make  many  thousands  of  dollars  a  year  and  whose 
names  are  household  words  in  every  American  home. 
They  say  nothing  of  the  failures. 

False  Advertising 

These  are  but  a  few  forms  of  advertising  reception 
and  fraud  in  the  movies.     I  mention  them  first  because 
(Continued  on  Page  20) 


December,  1924 


AMERICAN      CINEMATOGRAPHER 


Five 


Jackson  ].  Rose  Picturizes  Fantastic  Invention 


CJA.  S.  C.  Member  Suc- 
ceeds in  Working  Out 
Idea  that  Is  Basic  Theme 
of  Universal  Jewel  Pro- 
duction. 


£  ) 


Twelve  years  ago,  Jackson  J. 
Rose,  A.  S.  C,  then  a  cinematog- 
rapher  at  the  old  Essanay  stud- 
ios in  Chicago,  wrote,  more  for 
his  own  amusement  than  with 
any  thought  that  it  might  be  pro- 
duced as  a  motion  picture,  a 
story  bearing  the  title,  "By  the 
Aid  of  a  Mirror-phone. " 

The  story,  briefly,  contem- 
plated the  highly  fantastic  possi- 
bility of  one's  being  able  to  see 
the  person  to  whom  one  spoke 
over  the  telephone.  In  those 
days,  long  before  radio  apparat- 
us had  become  a  part  of  almost 
every  household,  such  a  theme 
was  indeed  very  imaginative. 
Consequently,  nothing  was  done 
with  the  story  at  that  time,  the 
producers'  being  skeptical  about 
the  theme's  being  photographed 
convincingly.  Tricks  were  not 
so  easily  made  then  as  now. 

While  today  such  a  "visual- 
talking"  arrangement  may  not 
be  so  far  removed  in  the  plane 


Six 


AMERICAN     CINEMATOGRAPHER 


December,  1924 


lit  .    ^c#_  -  * 

i ; '  %k  k 

lit .  --t#L  *\V 

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iff  _  ._  ?#■_  -i  T 

1  *!•                       "  -.  ;<  -.1 

•  «l                f        •.     pin- 

of  conjecture,  it  nevertheless  is 
granted  to  be  more  of  a  proba- 
bility than  a  possibility.  In  fact, 
a  current  number  of  Science  and 
Invention  offers  the  prediction 
that  such  an  invention  will,  in 
due  course  of  time,  be  in  as  com- 
mon use  as  the  telephone  and  the 
radio  are  today. 

Prediction 

But  just  as  authors  like  Jules 
Verne  and  others  of  bygone 
days,  in  sheer  imaginative  works, 
hit  upon  such  common  accomp- 
lishments of  the  present  like  like 
the  submarine,  etc.,  motion  pic- 
tures oftimes  evolve  mechanic- 
ally speculative  themes  which 
stand  just  as  good  a  chance  to 
materialize  as  Verne's  under- 
sea boat.  Of  this  sort  of  motion 
picture  is  Universal's  "Up  the 
Ladder"  which,  recently  com- 
pleted, deals  with  a  hero  who 
has  invented  an  arrangement 
whereby  the  speaker  in  a  phone 
may  see  the  person  to  whom  he 
is  talking.  By  a  pure  coinci- 
dence which  he  did  not  discover 
until  he  was  given  the  script, 
Jackson  J.  Rose  was  assigned  to 
film  this  story  whose  basic  idea 
was  strikingly  similar  to  the  one 
that  he  had  hit  upon  some  twelve 
years  ago.  The  Universal  pro- 
duction was  directed  by  Ted 
Sloman,  who  was  assisted  by 
Tom  McNamara,  famous  car- 
toonist, who  was  the  "gag  man" 
on  the  staff. 

As  difficult  as  might  be  the 
lot  of  the  inventor  who  is  en- 
deavoring to  bring  the  "mirror- 
phone"  into  actuality,  that's  just 
how  difficult  it  is  to  make  a 
"dummy"  contraption  of  this 
sort  show  up  in  motion  pictures. 
Of  course  every  one  knows  that 
all  that  would  be  required  of  a 
"mirror-phone"  in  pictures 
would  be  just  plain  "acting" — 
for    the    purpose    of    fiction    it 

(Continued   on  page  22) 


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4~~A~} 

,     i:                                   ^^^      \                  1 

in 

>3  .  i  iJk 

December,  1924 


AMERICAN     CINEMATOGRAPHER 


Seven 


The  Stills 

Problem  Solved 


By  H.  Gordon  Coward 


Presents  English  Perspec- 
tive of  American   Produc- 
tion Problem. 


(Writing  from  the  perspective  of  English  motion  picture  pro- 
duction, Mr.  Coward  outlines,  in  the  following  contribution 
the  method  which  he  says  has  solved  the  problem  in  England — 
a  problem  treated  upon  by  Gene  Kornman,  still  photographer 
for  Harold  Lloyd  productions,  in  an  article,  "Solving  the  Stills 
Problem,"  which  appeared  in  the  June  issue  of  the  American 
Cinematographer.  Mr.  Kornman's  article  was  in  answer  to 
a  story  which  appeared  in  the  March,  1924,  issue  under  the 
heading,  "Urge  Need  for  Good  Publicity  Stills,"  and,  to  ap- 
preciate the  subject  with  which  Mr.  Coward  deals  in  the  follow- 
ing contribution  it  should  be  read  in  connection  with  the  stories 
in   the  March  and  the  June   issues. — Editor's   Note.) 

A  belated  reply  to  the  very  acceptable 
article  "Solving  the  Stills  Problem."  Al- 
though very  heartily  agreeing  with  the  main 
points  of  the  article  I  fail  to  see  where  there 
is  a  problem  that  requires  solving. 

It  is  admitted  that  stills  are  a  very  im- 
portant integral  branch  of  cinematography 
and  essential  for  publicity.  Then  why  search 
for  a  responsible  person?  The  Director  is 
the  man  to  decide  what  action  is  to  be  por- 
trayed and  who  better  than  his  own  camera- 
man— of  whom  he  knows  his  limitations  and 
his  capabilities — to  take  them. 

When  we  come  down  to  the  photographic 
qualities  of  stills  we  are  approaching  a  dif- 
ferent and  more  difficult  matter. 

Your  excellent  contributor  states  a  camera- 
man needs  time  for  his  one  job,  i.  e.  cinema- 
tography, and  that  he  cannot  serve  two  masters 
by  mixing  this  work  with  stills.  I  counter 
this  by  asking — is  not  a  cameraman  a  skilled 
photographer  and  does  he  not  contract  to 
photograph  all  that  is  required  for  a  produc- 
tion? Why  exclude  still  work?  A  good 
still  requires  expert  knowledge  and  I  person- 
ally, if  a  cameraman,  would  not  like  this  es- 
sential part  of  my  work  to  be  delegated  to  a 
man  engaged  solely  for  this  one  job. 

But  to  get  back  to  the  issue  raised,  "Solv- 
ing the  Stills  Problem1'.  Your  contributor 
states — add  a  capable  still-man  to  the  staff  and 
make  him  responsible  for  the  quality  etc.  This 
sounds  very  well  but  take  a  supposition — four 
or  five  producers  all  'shooting'  on  the  studio 
floor  and  No.  1  calls  "Stills— here."  The  still 
man  hastens  over  with  his  camera  and  whilst 
taking  his  picture  Producer  No.  2  and  3 
simultaneously  cry  "Stills."  To  whom  does 
he  go?  And  when  to  one,  the  other  is  held 
up.  Surely  just  as  much  delay  here  as  there 
would  be  if  the  cameraman  were  taking  his 
own  stills  and  re-arranging  his  lights  for  the 
next  scene?     Further  what  of  quality  if  the 


still-man  is  harrassed  from  here  to  there  and 
back  again. 

I  agree  however  that  a  competent  photo- 
grapher be  engaged  solely  to  develop  and 
print  stills  and  this  brings  me  to  my  real 
issue  and  that  is  how  stills  are  dealt  with  in 
England  and  which  I  think  solves  the  prob- 
lem. 

A  competent  photographer  is  engaged  with 
another  man  and  two  boys  to  help  him.  A 
section  of  the  Printing  Factory  attached  to 
the  Studio  is  allotted  him  comprising,  dark- 
rooms, washing  rooms,  drying  room  and  fin- 
ishing room.  These  rooms  are  fitted  up  with 
tanks,  dishes,  enlargers,  contact  printing  ma- 
chines, trimming  machines,  etc.  All  stills 
are  photographed  by  the  cinematographers 
engaged  and  there  their  responsibility  ceases. 
The  undeveloped  negatives  are  sent  to  the  Still 
Department  and  here  the  still-room  man — as 
he  is  described — steps  into  his  own.  He  is 
responsible  for  developing  the  negatives 
handed  him  and  he,  of  course,  has  the  neces- 
sary time  to  devote  to  each  negative  in  order 
to  get  the  best  result  and  further,  with  the 
various  photographic  printing  papers  pro- 
vided, obtains  the  best  possible  print. 

The  first  prints  off  are  then  sent  to  the  Di- 
rector and  cameraman  for  approval  of  action 
and  quality  and  are  either  approved  or  can- 
celled. If  approved  the  print  is  numbered 
and  copies  sent  to  the  publicity  agents.  From 
these  approved  prints  stills  for  the  renting 
houses  are  chosen  and  printed  in  the  Still 
Department. 

This  system,  I  feel  sure,  solves  the  "Stills 
Problem"  because: 

1.  The  cameraman  engaged  on  a  produc- 
tion actually  does  the  photography  re- 
quired. 

2.  His  exposure  made,  he  has  nothing 
further  to  worry  about. 

3.  The  Still  Department  is  in  direct  touch 
with  both  Director  and  cameraman  and 
publicity  agents. 

4.  This  same  department  handles  all 
prints  for  'release'  and  the  cameraman's 
reputation  for  quality  of  work  is  not 
risked  in  the  hands  of  an  outside 
printer. 

5.  It  fixes  the  responsibility  for  action  on 

(Continued    on    page    23) 


Eight 


AMERICAN     CINEMATOGRAPHER 


December,  1924 


Herford  T.  Cowling 
Returns  to  U.  S*  A* 


Herford  Tynes  Cowling, 
A.  S.  C,  has  returned  to  Am- 
erican soil  after  his  latest  trip 
around  the  world  during 
which  he  covered  approx- 
imately 150,000  miles  and  ex- 
posed 200,000  feet  of  motion 
picture  film.  Cowling,  on  the 
trip  just  ended,  was  absent 
from  the  United  States  some 
two  years  and  a  half,  having 
left  in  the  summer  of  1922. 
He  is  at  present  in  Chicago, 
where  are  located  the  head- 
quarters of  Round-the-World 
Travel  Pictures,  of  which  or- 
ganization he  is  an  executive 
and  in  the  interest  of  which 
he  took  his  camera  around 
the  globe. 

In  War  in  China 

Just  before  leaving  for  Am- 
erica, Cowling  was  caught  in 
the  midst  of  the  civil  war  in 
China  where  he  had  gone  to 
carry  out  the  Chinese  phases 
of  his  cinematographic  trip. 
Since  the  uprising  made  this 
stage  of  his  itinerary  impos- 
sible, the  A.  S.  C.  member 
turned  war  cinematographer, 
visiting  the  different  fronts 
where  he  made  action  shots 
of  the  armies  of  Generals  Lu 
and  Chi,  and  of  Marshal  Wu. 


When  General  Feng  made 
his  coup  d'etat,  Cowling  was 
in  Peking.  He  lost  no  time  in 
filming  the  troops  of  the 
"Christian"  general  as  they 
came  into  the  city  with  camels 
as  their  chief  mode  of  trans- 
portation. 

Great   Journey 

The  journey  just  concluded 
by  the  A.  S.  C.  member  was 
one  of  the  most  exacting  ever 


Back  in  Native  Land  after 
Absence     of    Two    and    Half 
Years.  Traveled  150,000  Miles 

made  by  a  cinematographer. 
In  the  initial  stages  he  worked 
into  the  jungles  and  interior 
of  "darkest"  Africa  where  he 
engaged  in  the  exceedingly 
dangerous  undertaking  of 
photographing  a  lion  hunt. 
These  dangers,  however,  were 
matched  when  Cowling  pene- 
trated the  jungles  of  India 
where  he  turned  his  camera 
on  a  tiger  hunt  which  netted 
seven  Bengals  within  24  hours. 
This  latter  feat  is  said  to  be 
a  record.  These  two  events 
were  described  in  detail  by 
Cowling  in  his  story  in  the 
American  Cinematographer. 
Interior  of  Tibet 
Cowling  was  accorded  the 
very  rare  privilege  of  going 
into  the  interior  of  Tibet 
where  he  was  admitted  by 
virtue  of  a  hunter's  permit. 
While  on  this  leg  of  his  jour- 
ney he  w'as  not  allowed  to 
visit  Lhasa,  the  capital,  he  was 
permitted  to  attend  the  vari- 
ous religious  ceremonials  of 
the  lamas  and  succeeded  in 
getting  motion  pictures  of  the 
lama  dances.  These  advent- 
ures likewise  were  described 
by  Cowling  in  the  American 
Cinematographer. 


Motion  Picture  Apparatus  Co. 

Moves  Headquarters  in  New  York 

The  increase  in  the  business  of  the  Motion  Picture 
Apparatus  Company's  trade  with  the  various  branches  of 
the  Motion  Picture  Industry  has  made  it  necessary  for 
the  organization  to  concentrate  entirely  upon  the  develop- 
ment of  that  end  of  its  business,  and  to  relieve  themselves 
of  the  responsibility  of  their  business  in  still  cameras. 

In  order  that  the  motion  picture  trade  might  get  the 
service  that  it  required,  and  that  those  whom  they  served 
with  still  cameras  would  be  adequately  cared  for,  the 
Motion  Picture  Apparatus  Company  has  moved  its  quart- 
ers to  110  West  32nd  Street,  New  York  City,  where  it 
will  be  associated  with  the  well  known  camera  house  of 
Willoughby's. 


E.  Burton  Steene,  A.  S.  C. 

Returns  to  New  York  City 

E.  Burton  Steene,  A.  S.  C,  has  departed  for 
New  York  City  after  a  combined  business  and  pleasure 
trip  of  several  weeks  in  Hollywood. 

This  was  the  A.  S.  C.  member's  first  visit  to  Southern 
California  and  his  friends  are  confident  that  he  will  be 
back  to  stay  before  long.  In  fact,  Steene  will  not  deny 
the  probability  if  questioned,  especially  after  encountering 
on  his  return  trip,  a  howling  snowstorm  in  Chicago  that 
did  not  compare  favorably  with  the  sun-lit  boulevards 
of  Hollywood. 

*     *     * 

Lloyd  Nosier,  who  cut  Fred  Niblo's  "Thy  Name  Is 
Woman,"  "The  Red  Lily"  and  "The  Famous  Mrs. 
Fair,"  has  left  for  Rome  to  join  the  Niblo  company  in  the 
filming  of  "Ben  Hur." 


December, 1924 


AMERICAN     CINEMATOGRAPHER 


Sine 


Investigations  on  Photographic  Developers 


Common  Difficulty  Sifted  to 
Source  to  Find  Mischie- 
vous Causes. 


By  Merle  L.  Dundon  and 
J.  I.  Crabtree 

(Eastman  Research  Laboratory) 


Numerous  Theories  Investi- 
gated, Solved  and  Results 
Given  Herewith. 


2,o 

i 


Effect  of  Sulphide  in  M  Q  Tank.  Developer. 


A--  Fogging  Developer  from  Bottl 
B--  Fogging   Developer    from  Tank 


Time  of  Development  ( 


I.     Facts  which   led   to   this  Investigation 

1.  A  tank  of  MQ  developer,  used  for  the  development 
of  motion  picture  negative  film,  suddenly  began  to  give 
excessive  fog.  The  developer  had  been  in  use  for  about 
six  weeks  in  a  65  gallon  soap-stone  tank  but  had  not  de- 
veloped its  normal  footage  of  film  (about  500  feet  per 
gallon).  The  next  lot  of  developer  in  the  same  tank 
gave  excessive  fog  after  three  week's  use  when  5,000  feet 
of  film  had  been  developed.  The  solution  smelled  badly 
and  the  odor  of  hydrogen  sulphide  was  distinguishable. 
Further  tests,  as  described  later,  confirmed  the  presence 
of  sulphide. 

2.  A  four  liter  sample  of  MQ  tank  developer,  which 
had  been  in  use  for  one  week,  and  which  did  not  then 
give  fog,  had  been  kept  in  a  closed  bottle  for  about  four 
months.  When  examined,  it  was  found  to  give  intense 
fog  and  to  contain  sulphide. 

3.  A  tank  of  No.  16*  motion  picture  positive  de- 
veloper started  to  fog  when  two  weeks  old  and  only 
partially  exhausted.  A  sample  of  this  developer  was 
placed  in  a  closed  bottle  and  when  examined  four  months 
later  was  found  to  contain  a  considerable  quantity  of 
sulphide. 

4.  The  same  trouble  with  fog  also  occurred  in  a 
film  developing  machine  where  the  developer  was  kept 
in  long  glass  tubes  set  in  a  hard  rubber  base.  The  tubes 
were  fastened  to  the  base  with  a  pitch  cement  around 
a  soft  rubber  washer.  The  pitch  was  tested  and  found 
to  be  free  from  sulphur.  In  this  case  a  heavy  sludge 
found  in  the  bottom  of  the  tubes  was  identified  as  silver 
sulphide. 

All  the  developers  mentioned  above  had  been  used, 
and  the  generation  of  sulphide  has  not  been  observed 
in  unused  developers.  Moreover,  in  all  the  above  cases 
the  developing  solutions  had  been  standing  unused  for  at 
least  two  or  three  days  just  previous  to  the  time  when 
their    fogging   action    appeared. 

"Manufacturers'    recommended    developer   for    Eastman   Positive   Motion    Picture 
Film. 


II.     Methods  of  Detecting  Sulphide  in  Developers 

1.  If  a  drop  of  lead  acetate  solution  is  added  to  a 
developer  containing  sulphide  a  brownish-black  precipi- 
tate of  lead  sulphide  is  formed.  If  sulphide  is  absent  a 
white  precipitate  of  lead  carbonate  and  sulphite  is  ob- 
tained. A  sufficiently  small  amount  of  lead  must  be 
added  so  that  a  slight  precipitate  of  lead  sulphide  will 
not  be  hidden  by  a  large  amount  of  white  precipitate. 

2.  A  piece  of  filter  paper  wet  with  lead  acetate  is 
covered  with  a  black  silvery  deposit  of  lead  sulphide 
when  exposed  to  hydrogen  sulphide  gas.  Such  a  test 
can  be  made  by  hanging  a  lead  acetate  paper  in  the  top 
of  the  bottle  nearly  filled  with  a  solution  to  be  tested. 
When  the  solution  is  distinctly  alkaline,  as  with  most 
developers,  the  amount  of  hydrogen  sulphide  which  es- 
capes is  very  small.  In  such  cases  it  is  sometimes 
necessary  to  make  the  solution  acid  with  hydrochloric 
acid  and  warm  gently,  holding  the  lead  acetate  paper  in 
the  escaping  gas. 

3.  When  cadmium  chloride  is  added  to  a  developer, 
white  cadmium  hydroxide  is  formed,  but  if  sulphide  is 
present  a  yellow  precipitate  of  cadmium  sulphide  is  also 
obtained.  On  adding  ammonium  hydroxide  the  cad- 
mium hydroxide  dissolves  leaving  a  suspension  of  yellow 
cadmium  sulphide  which  gradually  settles  out  as  a  floc- 
culent  precipitate.  This  test  is  quite  sensitive  if  the  de- 
veloping solution  itself  is  not  yellow. 

III.      The    Concentration    of    Sulphide    and    the    Extent 
of  Fog 

1.  The  concentration  of  sulphide  in  the  fogging  de- 
veloper was  determined  photographically  as  follows : 

Definite  amounts  of  sodium  sulphide  were  added  to 
samples  of  a  used  MQ  tank  developer  and  strips  of  NC 
film,  on  part  of  which  a  definite  exposure  was  made, 
were  developed  in  these  solutions.  The  fog  on  these 
strips  was  then  compared  with  that  produced  by  the 
fogging  developer  under  the  same  development  conditions. 
The  results  are  shown  by  the  accompanying  curves.  The 
upper  set  of  curves  represent  the  growth  of  image  density 
with  time  of  development  while  the  lower  set  represent 
the  corresponding  fog  densities.  The  dotted  lines  repre- 
sent the  fogging  developers  of  unknown  sulphide  concen- 
tration. From  these  curves  it  is  evident  that  the  fog- 
ging developer  taken  from  the  tank  contained  sodium 
sulphide  in  a  concentration  of  about  0.005  per  cent,  and 
that  which  spoiled  in  the  bottle  contained  slightly  less 
than  0.02  per  cent.  Also  the  magnitude  of  the  fog 
value  show  how  small  a  quantity  of  sulphide  is  required 
to  produce  serious  fog. 

IV.     Possibile    Sources    of    Sulphur    in    Developers 

Having  established  definitely  the  presence  of  sulphide 
in  developers,  the  various  possible  sources  from  which 
it  might  come  were  considered  and  investigated  as  de- 
scribed below. 

1.     Hypo. 

In    tank    development    where    wooden    racks    carrying 

(Continued'  on  Page  16) 


Ten  AMERICAN     CINEMATOGRAPHER  December,  1924- 


The  Editors'  Lens        -    -       focused  by  foster  goss 


€J  Fellow  cinematographers  of  Herford  Tynes  Cowling,  A.  S.  C, 
are  not  only  glad  that  he  is  back  in  his  native  land  once  more, 
but  they  are  more  than  happy  that  his  return  finds  him  sound  in 
body  and  limb  despite  all  the  dangerous  adventures  to  which  he 
subjected  himself  in  his  last  trip  around  the  world. 

CjJIn  the  two  and  one-half  years  that  he  was  away  from  the  "States" 
Cowling  was  exposed  to  more  dangers  than  the  average  man 
meets  in  a  lifetime,  and  it  is  well  that  this  passing  tribute  at  least 
be  paid  to  the  courage  that  guided  the  grinding  arm  which  made 
possible  the  recording  of  all  the  varied  and  interesting  subjects 
that  the  A.  S.  C.  member  has  brought  back  with  him. 

CJ  Cowling  required  more  than  skill  in  such  situations  when  he  was 
attempting,  from  the  back  of  a  nervous  and  bounding  elephant, 
to  keep  focused  and  grinding  on  a  tiger  at  bay — while  at  every 
moment  his  life  was  in  imminent  danger  from  a  shot  that  might 
have  gone  wild  because  some  one's  trigger  finger  was  thrown  off 
aim  as  a  result  of  the  antics  of  a  similarly  frightened  elephant 
on  the  other  side  of  the  ring.  The  A.  S.  C.  member  spoke  little 
of  the  element  of  personal  danger  in  his  various  stories  in  this 
publication  but,  try  as  he  might,  he  could  not  prevent  the  truth 
from  staring  out  at  the  reader  between  the  lines. 

CJJBut  Cowling  has  more  than  the  great  pre-requisite  of  courage — 
he  has  the  skill  to  get  into  celluloid  a  graphic  display  of  that 
which  the  layman  couldn't  ever  hope  to  see  in  personal  travels. 
He  needed  more  than  a  steady  hand  and  a  staunch  heart  to  grind 
away  in  the  teeth  of  danger — he  had  to  have  the  scientific  apti- 
tude to  preserve  the  results  of  his  enterprise  through  the  balance 
of  long  and  perilous  journeys,  days  away  from  the  last  outposts  of 
civilization. 


CjJWith  every  important  release  the  realization  is  driven  home  that 
the  ideal  motion  picture  presentation  cannot  come  to  pass  until 
something  is  accomplished  toward  bringing  projection  standards 
into  common  reconciliation. 


December,  1924  AMERICAN     CINEMATOGRAPHER  Eleven 


IJ  Manufacture  of  projection  equipment  has  reached  a  high  stage, 
and  the  abilities  and  prestige  of  projectionists,  in  whose  hands  the 
ultimate  screening  rests,  have  similarly  progressed. 

CJBut  what  about  conditions  wherein  a  print  shows  ideally  in  one 
theatre  and  when  it  reaches  another  house  it  becomes  a  mon- 
strosity? For  important  "key"  houses  the  situation  is  remedied  by 
giving  such  establishments  prints  that  will  fit  their  particular  re- 
quirements— but,  in  the  case  of  one  Los  Angeles  theatre,  the  print 
that  is  so  specially  treated  can  scarcely  be  seen  when  an  attempt 
is  made  to  project  it  at  the  laboratory  at  which  it  is  produced. 

CJ  Those  in  the  producing  end  of  the  business  naturally  wonder,  then, 
what  happens  to  the  average  print  as  it  passes  from  one  house  to 
another  during  its  life.  Those  who  figured  in  the  making  of  the 
picture,  when  they  view  it  in  public,  usually  see  it  at  some  dom- 
inating theatre  in  Los  Angeles  or  in  New  York  City.  And,  the 
house  being  important,  and  its  conditions  so  requiring,  it  may  be 
given  a  special  print.     So  the  presentation  is  satisfactory. 

CJ  But  if  conditions  vary  in  Los  Angeles  as  they  have  been  found  to 
do,  those  who  created  the  vehicle  live  in  justifiable  fear  as  to  the 
form  in  which  their  efforts  will  greet  distant  audiences,  among 
which  they  will  never  sit.  It  is  not  to  be  expected  that  every  thea- 
tre should  be  accorded  a  print  to  meet  its  particular  needs  or 
shortcomings.  Neither  is  it  to  be  expected  that  the  laboratory  is 
to  turn  out  a  print  that  will  fit  into  all  the  widely  different  re- 
quirements of  all  the  houses  to  which  it  goes  in  the  course  of  its 
career.     That  would  be  nothing  short  of  magic. 

CJBut  it  is  to  be  hoped,  if  not  expected,  that  there  will  come  some 
solution  whereby  good  cinematography  in  one  house  is  good  cine- 
matography in  all  houses — yea,  whereby  a  print  will  not  have  its 
life  prematurely  cut  short  in  its  babyhood  when,  after  a  run  of 
thirty  days  in  some  theatres,  it  must  be  given  an  unhonored  burial 
in  the  discard. 


Tivelve 


AMERICAN     CINEMATOGRAPHKR 


December,  1924 


Manhattan  Mutterings 

By  Philip  H.  Whitman,  A.  S.  C. 


CJ  Being  mumblings  heard  by  an  A.  S.  C. 
member  in  rumbling  and  rambling  about  old 
New  York  town. 


Philip  H.  Whitman,  A.S.C. 

First  National  Starts 
Jimmie  Van  Trees  has  started  photog- 
raphy on  "The  Interpreter's  House,"  the 
first  of  First  National's  eastern  produc- 
tions to  go  in  work  under  the  direction 
of  Lambert  Hillyer.  Scores  of  workmen 
are  at  work  upon  the  remodeling  of  the 
old  Biograph  studios  in  preparation  for 
the  additional  production  units  which 
are  soon  to  start. 


Some  Beau  Brummel 
Arthur  Edeson,  A.  S.  C,  and  also 
known  as  the  "Sheik  of  Hollywood,"  has 
been  seen  about  town  quite  a  bit  recently. 
The  only  things  missing  are  the  golf 
trousers  and  the  Roamer  Speedster.  How- 
ever, taxicabs  are  plentiful  so  that's  that. 
Arthur,  by  the  way,  is  soon  to  start  one 
for  First  National. 


"Adventurous  Sex"   Completed 
George  Peters  has  completed  photog- 
raphy on  "The  Adventurous  Sex,"  which 
was  directed  by  Charlie  Giblyn. 


Latham   Moore  Dies 

It  is  with  real  regret  in  the  heart  of 
the  writer  that  he  reports  the  death  in 
a  New  York  hospital  of  Latham  Moore 
who  assisted  Arthur  Edeson,  A.  S.  C, 
during  the  production  of  "The  Thief  of 
Bagdad."  "Late"  as  he  was  known  to  his 
friends,  came  east  with  First  National  to 
assist  Arthur  on  a  production  to  be  made 
here.  During  the  journey  on  the  train 
he  was  taken  suddenly  ill  and  was  re- 
moved to  a  hospital  immediately  upon 
his  arrival  here  but  despite  every  effort 
on  the  part  of  the  medical  specialists 
called  in,  the  end  came  last  week. 

For  many  years  Latham  was  with  Uni- 
versal and  was  always  known  as  one  of 
the  best  assistants  in  the  business.  He 
possessed  the  necessary  mechanical  and 
artistic  ability  to  become  a  high-class 
cinematographer  and  many  members  of 
the  A.  S.  C.  will  join  in  expressing  their 
sorrow  for  his  untimely  death. 

(Continued  on  page  15) 


December,  1924 


AMERICAN     CINEM  ATOGRAPHER 


Thirteen 


Bert  Glennon,  A.  S.  C,  has  left  for  a  location  trip  of 
three  weeks  to  the  head  of  the  Grand  Canyon,  Arizona, 
where  he  is  to  do  some  interesting  work  with  Zane  Grey 

on  a  forthcoming  Paramount  production. 

*     *     * 

Georges  Benoit,  A.  S.  C,  having  finished  filming  "The 
Birth  of  the  West,"  for  the  Colorado  Pictures  Corp., 
has  joined  Hunt  Stromberg  productions  where  he  is  shoot- 
ing  a   Harry   Carey    feature   with   Mildred    Harris   and 

Tom  Santschi  in  the  cast. 

*  *     * 

Bert  Glennon,  A.  S.  C,  has  renewed  his  contract 
with  Famous  Players-Lasky  for  the  year  1925.  On 
completing  "Tomorrow's  Love",  directed  by  Paul  Bern 
and  featuring  Agnes  Ayres  and  Pat  O'Malley,  Glennon 
branched  out  into  another  line  of  motion  pictures,  Para- 
mount having  handed   the  A.   S.   C.   member  one  of  its 

stories  for  a  treatment  of  continuity. 

*  *     * 

Reggie  Lyons,  A.  S.  C,  has  finished  "The  Trail  Rid- 
er", starring  Buck  Jones  for  Fox  with  Nancy  Deever  as 
leading  lady.  Some  beautiful  scenic  stuff  was  obtained 
at  Angels  Camp,  Calif.,  where  three  weeks  were  spent 
on   location. 

Reggie  followed  his  avocation  on  Thanksgiving  Day 
when  he  drove  his  Packard  racer  in  the  250  mile  race 
over  the  Ascot  course,  Los  Angeles.  Lady  Luck  wasn't 
tugging  very  hard  at  Reg's  radiator,  however,  as  the 
A.  S.  C.  member  finished  just  one  position  too  far  back  to 

be  in  the  money. 

*  *     * 

King  D.  Gray,  A.  S.  C,  has  started  the  cinematography 
on  Ben  Verschleiser's  production  of  "Speed",  a  Satur- 
day Evening  Post  story  by  Grace  S.  Mason.  Produc- 
tion is  under  way  at  the  F.  B.  O.  studios  with  Edward 

J.  Le  Saint  directing. 

*  *     * 

Photographic  circles  were  stricken  with  the  sad  news 
of  the  passing  of  Mrs.  George  H.  Scheibe.  The  end 
came  from  heart  trouble  on  October  26th.    Mrs.  Scheibe 

was  actively  associated  with  her  husband  in  his  business. 

*  *     * 

Max  Du  Pont,  A.  S.  O,  has  heeded  the  call  of  the 
studio  and  returned  to  Los  Angeles  after  several  months 

spent  in  Tahiti  where  he  went  to  rest  and  recuperate. 

*  *     * 

Ira  Morgan,  A.  S.  O,  likewise  has  returned  from  the 
same  island  where  he  sailed  for  the  filming  of  his  latest 
Cosmopolitan  production.  With  Max  and  Ira,  the  South 
Seas  claimed  a  fair  representation  of  A.  S.  C.  members 
for  some  time. 

*  *     * 

Al  Gilks,  A.  S.  O,  is  back  in  Hollywood  wearing  a 
Texas  sunburn  acquired  in  the  filming  of  ParamoMnt's 
production  of  Emerson  Hough's  "North  of  36",  direct- 
ed by  Irvin  Willat.  Al  has  seen  so  much  of  cattle  the 
past  several  weeks  that  he  cannot  be  sympathetic  to  even 
a  nice  juicy  beefsteak. 


Tony  Gaudio,  A.  S.  O,  is  shooting  a  star  other  than 
Norma  Talmadge  for  the  first  time  in  many  moons. 
Through  special  arrangement  with  Joseph  M.  Schenck, 
he  is  filming  "Declasse,"  a  Corinne  Griffith  production, 
during  the  vacation  of  Miss  Talmadge. 

*  *     * 

Fred  and  Floyd  Jackman,  both  A.  S.  C.  members,  who 
are  away  on  an  Arizona  location,  have  been  having  their 
troubles  brought  on  by  temperament  among  their  play- 
ers— namely  through  the  bad  offices  of  the  steed  that  was 
scheduled  to  play  the  "heavy"  opposite  "Rex",  in  the 
latest  Fred  Jackman  Production  for  Hal  Roach. 

*  *     * 

Robert  Kurrle,  A.  S.  O,  has  begun  the  cinematography 
on  Henry  King's  latest  production.  Headquarters  will 
be  at  the  United   Studios. 

*  *     * 

Victor  Milner,  A.  S.  O,  is  nearing  the  end  in  the 
filming  of  Paramount's  "East  of  Suez,"  starring  Pola 
Negri  and  directed  by  R.  A.  Walsh. 

Sol  Polito,  A.  S.  O,  called  in  H.  Lym,an  Broening,  A. 
S.  O,  recently  for  aid  in  the  filming  of  a  big  set  in  the 
latest  Hunt  Stromberg  production  which  Sol  is  photo- 
graphing. 

Charles  Rosher,  A.  S.  C,  has  returned  to  Hollywood 
after  a  sojourn  in  Europe  of  several  months,  much  of 
which  was  spent  studying  photographic  conditions  in  Ger- 
many. 

*  *     * 

Homer  Scott,  A.  S.  O,  is  as  busy  as  ever  on  the  in- 
tricate phases  of  "The  Lost  World",  First  National's  big 
production. 

*  *     * 

Arthur  Edeson,  A.  S.  C,  has  gone  to  New  York  City 
for  the  filming  of  his  latest  productions  for  First  Nation- 
al. 

*  *     * 

Bert  Glennon,  A.  S.  O,  an  aviator  during  the  World 
War,  went  back  to  his  war-time  love  during  the  past 
month  when,  on  the  completion  of  the  cinematography  in 
Paul  Bern's  production  of  "Tomorrow's  Love"  featuring 
Pat  O'Malley  and  Agnes  Ayres,  he  filmed  a  battle  be- 
tween a  German  and  a  French  plane,  done  at  Clover 
Field,  Santa  Monica,  Calif. 

Glennon's  knowledge  of  direction  and  his  experience 
as  an  aviator  inspired  the  confidence  of  Clarence  Badger, 
who  was  directing  "Old  Lives  for  New,"  and,  as  a  re- 
sult, Paramount  entrusted  the  entire  episode  to  the  A.  S. 
C.  member's  imagination.  The  results  seen  on  the  screen 
are  very  realistic,  and  will  bring  back  memories  of  ex- 
citing moments  to  those  who  fought  in  planes,  at  the  same 
time  thrilling  the  spectators  who  view  the  finished  pro- 
duction. 


Fourteen  AMERICAN     CINEMATOGRAPHER  December,  1924 


EASTMAN 
NEGATIVE  FILM 

On  occasion  its  latitude  and  speed 
are  essential  to  success;  on  every  oc- 
casion you  want  the  film  that's  un- 
rivaled for  dependability —  Eastman 
Negative  Film. 


A  good  negative  deserves  a 
good  positive — your  negatives 
deserve  Eastman  Positive 
Film.  It  carries  quality  from 
studio  to  screen. 


EASTMAN  KODAK  COMPANY 

ROCHESTER,  N.  Y. 


December ,  19^4- 


AMERICAN     CINEMATOGRAPHER 


Fifteen 


MANHATTAN  MUTTERINGS 

(Continued  from  page  12) 

Marcel  Le  Picard  has  finished  photog- 
raphy on  "The  Ultimate  Good"  which 
was  directed  by  E.  H.  Griffith  for  St. 
Regis  productions.  By  the  way  one  never 
sees  Marcel  around  the  bright  lights  but 
then  he  always  was  good  at  hiding  out. 
Ne  cest  pas? 


Rudy  Bergquist  Back 
Rudolph  Bergquist  has  returned  from 
the  west  coast  to  take  up  the  photo- 
graphic reins  on  "Hail  and  Farewell," 
Barbara  La  Marr's  next  one.  As  yet  no 
director  has  been  selected. 


Overbaugh  Starts 
Roy  Overbaugh  has  started  the  photo- 
graphic end  of  "New  Toys,"  Richard 
Barthelmess'  latest,  which  will  be  di- 
rected by  John  Robertson.  Work  will 
be  done  at  the  Tech  Art  Studios. 


Flying  Fists  Finish  Flying 
Frank  Zucker  has  finished  up  the  photo- 
graphic work  on  "Flying  Fists,"  which 
featured  Benny  Leonard.  The  series  of 
short  features  were  made  by  the  Gins- 
berg-Wilk  productions. 


Another  New  One 
J.  Schultz  has  commenced  the  camera 
work  on  "The  Great  Air  Mail  Robbery," 
which    is    being    directed    by   T.    Hays 
Hunter. 


Griffith  Done 

Hendrick  Sartov  has  just  put  the  fin- 
ishing photographic  touches  on  "Isn't 
Love  Wonderful,"  the  latest  D.  W.  Grif- 
fith production.  The  exteriors  were 
made  abroad  while  the  interiors  were 
completed  at  the  Mamaroneck  Studios. 

(Continued  on  page  21) 


Put  yourself 

on  your  Christmas  list 

YOU  can  give  to  yourself  at  Christ- 
mas time,  and  yet  be  as  unselfish 
and  as  charitable  as  you  like  to  be. 
Buy  Christmas  Seals. 

Everywhere  there  are  men  and 
women  whose  only  hope  for  life  and 
health  is  in  the  Tuberculosis  Associa- 
tions. Christmas  Seals  furnish  the  funds 
to  bring  these  men  and  women  sufferers 
from  tuberculosis  back  to  health. 
When  you  buy  Christmas  Seals,  it  is 
you  who  are  giving  them  the  greatest 
gift  that  lies  within  the  reach  of  man  — 
the  gift  of  life. 

Every  life  you  save 
from  tuberculosis 
means  additional  pro- 
tection for  you  and 
your  family.  Funds 
from  the  sale  of 
Christmas  Seals  have 
eliminated  half  the 
deaths  from  tuber- 
culosis. 


Help  stamp  out  the 
dread  disease.  Buy 
Christmas  Seals. 


STAMP  OUT 

TUBERCULOSIS 

WITH 

CHRISTMAS 

SEALS 


THE  NATIONAL,  STATE,  AND  LOCAL  TUBERCULOSIS 
ASSOCIATIONS  OF  THE  UNITED  STATES 


Sixteen 


AMERICAN     CINEMATOGRAPHER 


December,  1924 


INVESTIGATIONS   ON   PHOTOGRAPHIC 
DEVELOPERS 

(Continued  from  page  9) 

film  are  passed  repeatedly  through  the  developer,  fixing 
bath,  and  wash  tanks,  it  is  possible  that  traces  of  hypo 
might  be  carried  into  the  developer  as  a  result  of  in- 
complete washing  of  the  racks.  With  this  in  mind  a 
small  wooden  frame  was  soaked  in  a  fixing  bath,  and 
without  rinsing  was  dried  for  two  days,  and  then  soaked 
in  a  liter  of  developer  in  a  small  tank  for  three  days.  This 
developer  was  then  tested  and  found  to  give  some  di- 
chroic  fog  which  has  a  different  appearance  from  fog 
caused  by  sulphide.  Moreover,  no  sulphide  could  be 
detected  by  chemical  tests.  When  hypo  in  increasing 
amounts  was  added  directly  to  a  fresh  developer,  the 
general  result  was  to  decrease  the  density  of  the  image 
without  producing  any  increase  in  fog.  Dichroic  fog  was 
formed  in  only  a  few  cases.  From  these  tests  it  seems  im- 
probable that  traces  of  hypo  in  a  developer  can  form 
sulphide  by  chemical  decomposition. 

2.  Rubber. 

Rubber  bands  are  used  to  fasten  the  ends  of  strips 
of  film  to  the  racks  for  tank  development,  and  in  the 
tube  machine  mentioned  a  soft  rubber  washer  and  hard 
rubber  base  were  in  contact  with  the  developer.  There- 
fore, a  handful  of  new  rubber  bands  were  placed  in  a 
250cc.  bottle  of  developer  and  allowed  to  stand  24  hours 
at  a  temperature  of  120°F.  Another  sample  of  developer 
was  heated  to  boiling  with  rubber  bands.  In  both  these 
tests  no  excessive  fog  was  produced  and  sulphide  could 
not  be  detected.  When  rubber  was  heated  with  10% 
sodium  hydroxide  alone,  sodium  sulphide  was  formed, 
but  when  heated  with  sodium  hydroxide  and  sodium  sul- 
phite, hypo  was  formed  instead  of  sulphide.  The  same 
result  was  obtained  with  developer  which  contained 
sulphite. 

3.  Free  Sulphur. 

Flowers  of  sulphur  were  added  to  a  developer  and 
tested,  as  with  the  rubber  bands,  by  boiling  and  by  keep- 
ing for  24  hours  at  120°F.  Solutions  were  then  filtered 
and  tested  chemically  and  photographically  but  no  sul- 
phide could  be  detected.  However,  so  much  hypo  was 
formed  that,  after  a  strip  of  film  had  been  developed  in 
the  solution  kept  for  24  hours  at  120°F.,  a  silver  mir- 
ror was  slowly  formed  on  the  walls  of  the  glass  tube 
containing  the  developer.  This  was  due  to  reduction 
of  the  silver  dissolved  from  the  emulsion.  The  solution 
also  had  a  muddy  appearance  from  the  precipitated  silver. 
Similar  tests  were  carried  out  with  milk  sulphur  made 
by  acidifying  a  hypo  solution.  In  all  these  tests  the  results 
were  the  same ;  no  sulphide  was  formed  in  a  developer  by 
adding  hypo,  rubber  which  contains  sulphur,  or  free  sul- 
phur. On  the  other  hand,  when  free  sulphur  was  added 
to  a  developer,  either  hypo  or  some  other  poly-thio  salt 
which  dissolves  silver  bromide,  was  formed. 

4.  Decomposition  of  Gelatine. 

When  film  is  passed  through  a  developer  a  small  amount 
of  gelatine  dissolves  in  the  solution.  Ordinary  gela- 
tine may  contain  cystine  as  one  of  its  constituent  amino 
acids  and  cystine  contains  sulphur  in  organic  combina- 
tion. Moreover,  cystine  is  quite  soluble  in  alkalies.  It 
was  thought  therefore,  that  if  the  gelatine  in  the  emul- 
sions contained  traces  of  cystine  this  might  get  into  the 


Neuberg    and    Welde,    Transformation    of    Thiosulphate    into    Hydrogen    Sul- 
phite   by    Yeast,    Bio-chem.    Z   67,    111,    1914). 

Fred    W.    Tanner,    Formation    of    Hydrogen    Sulphide    from    Certain    Sulphur 
Compounds   by   Yeast-like  Fungi.     Am.   Chem.  Soc.   40,663,    (1918). 
W.   J.   Wilson,   Reduction  of  Sulphites  by  Certain   Bacteria   and   Media  Con- 
taining  a   Fermentable  Carbohydrate   and   Metallic  Salts.      J.   Hyg,   21,    392, 
(1923). 

Kilpatrick   and   Kilpatrick,   The   Stability  of  Sodium  Thiosulphate  Solutions. 
J.   Am.  Chem.  Soc.  45,  2132,    (1923). 


developer  and  be  decomposed  with  the  formation  of  sul- 
phides. In  order  to  test  this  possibility  some  pure 
cystine  was  added  to  a  developer,  both  alone  and  with 
ordinary  gelatine,  and  the  solutions  kept  for  several 
days  at  120°F.  The  same  test  was  also  made  at  90°F. 
No  sulphide  was  detected  in  any  of  these  solutions.  It 
is  known  that  the  bacterial  fermentation  of  protein  bodies 
containing  sulphur  produces  hydrogen  sulphide  and  in 
these  tests  it  is  probable  that  conditions  favorable  to 
bacterial  development  were  not  present,  although  the 
solutions  were  inocculated  from  the  fogging  developer. 
Moreover,  it  seems  improbable  that  sufficient  cystine 
could  get  into  a  developer  from  photographic  gelatine 
to  account  for  the  formation  of  sulphide  in  the  concentra- 
tions found  to  exist.  In  considering  the  activities  of 
bacteria  and  other  organisms,  however,  a  much  more 
probable  source  of  the  sulphide  was  found. 

V.      The  Reduction  of  Sodium  Thiosulphate,  Sul- 
phite, and  Sulphate  by   Bacteria,  Moulds 
and  Yeasts 

1.  Literature. 

The  literature  contains  references  to  the  reduction  of 
thiosulphates,  sulphites,  and  sulphates  by  many  different 
organisms.  Neuberg  and  Welde'  found  that  with  a 
mixture  of  sodium  thiosulphate,  sugar  and  yeast,  hydro- 
gen sulphide  and  sodium  sulphite  were  formed,  and  in 
three  days  15%  of  the  theoretical  yield  of  hydrogen  sul- 
phide was  obtained.  Tanner2  studied  the  action  of 
thirty  different  fungi  and  found  that  most  of  the  strains 
liberated  hydrogen  sulphide  from  sodium  thiosulphate. 
Ten  were  found  to  reduce  sodium  sulphate  to  hydrogen 
sulphide  and  a  few  reduced  sodium  sulphite.  W.  J. 
Wilson3  found  that  in  media  containing  sodium  sulphite, 
glucose  and  iron  salts,  reducion  of  sulphite  to  sulphide  is 
effected  by  B.  typhosus,  B.  enteritidis,  B.  paratyphosus  B., 
and  other  members  of  the  Salmonela  group.  These  ex- 
amples are  sufficient  to  indicate  the  great  variety  of  organ- 
isms which  are  capable  of  reducing  sulphites,  or  even  sul- 
phates to  hydrogen  sulphide.  It  is  also  of  interest  to 
note  that  a  rapid  deterioration  of  standard  solutions  of 
thiosulphate  has  been  traced  to  bacterial  action4. 

2.  Experimental    Investigation. 

In  order  to  confirm  the  theory  that  reducing  organ- 
isms were  responsible  for  the  formation  of  hydrogen 
sulphide  in  the  fogging  of  developer,  it  was  necessary  to 
reproduce  the  effect  in  other  samples  of  developer.  For 
most  tests  the  solution  to  be  tested  was  placed  in  a 
250cc.  bottle,  the  desired  culture  material  added,  and 
the  sample  kept  in  an  oven  at  90 — 95°F.  The  bottles 
were  not  quite  full  and  were  corked.  In  some  cases  the 
solution  itself  was  tested,  but  generally  a  lead  acetate 
paper  was  suspended  in  the  top  of  the  bottle  and  left 
for  an  hour  or  two,  if  necessary,  to  see  if  it  would 
blacken.  At  first  some  of  the  tests  gave  negative  results, 
but  this  was  probably  due  to  the  fact  that  the  bottles  were 
opened  too  frequently  for  examination  and,  as  will  be 
shown  later,  the  absence  of  oxygen  is  a  contributing  fac- 
tor in  the  formation  of  sulphide. 


December,  1924 


AMERICAN     CINEMATOGRAPHER 


Seventeen 


How  About  Oskaloosa,  Iowa? 

How    will    your    photography    impress  the  patrons  of  the  Gem 

Theatre? 
The  answer  is  simple  if  you  know  that  the  print  was  made  from 

A  PRACTICAL  NEGATIVE 

— a  negative  carefully  and  honestly  treated  for  artistic  printing 

BEYOND    THE    DAILYS 

— a  negative  so  good  that  it  forbids  uneven  printing — 
— a  negative  which  reflects  creditably  in  a  "key"  theatre  or  in  a 
small  house  on  the  57th  booking — 

//  this  means  anything  to  you  —  there's  but  one  answer! 

ROTHACKER-ALLER  LABORATORIES,  Inc. 

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(a)  Experiments  with    Yeast. 

In  the  experiments  with  yeast  about  lcc.  of  ordinary 
baker's  fresh  yeast  was  placed  in  a  250cc  bottle  of  the 
solution  to  be  tested.  When  yeast  was  added  to  a  1% 
solution  of  sodium  thiosulphate  a  considerable  yield  of 
sulphide  was  obtained  in  less  than  24  hours.  With  a  1  % 
solution  of  sodium  sulphite,  sulphide  was  detected  after 
four  or  five  days.  When  MQ  tank  developer  was  diluted 
1  to  3,  and  0.25%  hypo  added  with  yeast,  sulphide  was 
invariably  produced  in  3  to  5  days.  Finally,  when  yeast 
alone  was  added  to  a  slightly  used  tank  developer,  and 
the  bottle  kept  closed  for  a  week,  sulphide  was  detected 
in  considerable  concentration.  Thus  there  is  no  doubt 
whatever  that  ordinary  baker's  yeast  contains  organisms 
which  are  capable  of  living  in  a  developer  and  producing 
sulphide  from  the  developer  constituents. 

(b)  Experiments  with  Slime. 

The  wooden  wash  tanks  in  which  the  motion  picture 
film  is  washed  after  fixing  becomes  coated  with  a  thin 
layer  of  slime  if  they  are  not  cleaned  frequently.  Some 
of  the  slime  was  scraped  off  and  kept  in  a  bottle  from 
which  portions  were  taken  and  added  to  other  solutions. 
The  bottle  containing  slime  was  partly  filled  with  water 
from  the  tap  and  after  keeping  a  few  days  a  lead  acetate 
paper  blackened  instantly  when  introduced  into  the  top 
of  the  bottle.  In  this  case  the  sulphide  must  have  been 
produced  from  traces  of  sulphate  in  the  tap  water,  or 
hypo  from  the  water  in  the  wash  tank  from  which  the 
slime  was  scraped.  Sulphate  was  formed  very  slowly  and 
in  small  amounts  when  slime  was  added  to  hypo  solutions 
or  to  dilute  developers  containing  hypo.  However,  when 
some  of  the  slime  was  added  to  slightly  used  developer 


and  the  bottle  kept  tightly  closed  for  two  weeks,  a 
large  amount  of  sulphide  was  formed.  Therefore,  the 
slime  which  collected  on  the  walls  of  the  wash  tanks 
was  capable  of  producing  sulphide  in  a  developer. 

(c)      Bacteriological    Examination    of    the    Developer. 

A  sample  of  the  fogging  developer  from  the  tank  after 
standing  for  some  time  was  examined  microscopically* 
and  found  to  contain  numerous  organisms,  some  of  which 
were  undoubtedly  dead.  The  turbidity  of  the  contam- 
inated samples  appeared  to  be  caused  largely  by  the  sus- 
pended organisms. 

A  second  sample  obtained  from  the  tank  just  as  the 
first  trace  of  fog  became  evident  showed  much  the  same 
bacterial  flora  as  the  first.  This  consisted  chiefly  of 
bacteria,  bacilli  predominating,  although  cocci  were  pre- 
sent. Under  anaerobic  conditions  in  a  medium  of  di- 
luted developer  to  which  peptone  and  lead  acetate  had 
been  added  hydrogen  sulphide  was  produced  on  at  least 
three  occasions.  It  is  not  certain  yet  which  one  of  the 
mixtures  of  micro-organisms  yielded  the  hydrogen  sul- 
phide nor  can  the  peptone  be  ruled  out  as  the  source 
of   it. 

In  view  of  all  the  experimental  evidence  produced,  it 
seems  certain  that  the  sulphide  in  the  fogging  developers 
tested  was  formed  from  sulphite  as  the  result  of  reduction 
by  living  organisms  which  grew  in  the  developer.  The 
organisms  were  probably  introduced  with  the  water,  but 
may  have  come  from  the  air.  A  deep  tank  favors  such 
growth  because  oxygen  cannot  penetrate  to  the  bottom  of 


*The  authors  are  indebted  to  Dr.  R.  R.  Mellon  and  Dr.  W.  S.  Hastings  of 
the  Pathological  Laboratory,  Highland  Hospital,  Rochester,  New  York  for  the 
bacteriological  examination. 


Eighteen 


AMERICAN     CINEMATOGRAPHER 


December,  1924- 


solution  where  anaerobic  conditions  would  exist.  Possibly 
gelatine  dissolved  from  the  film  acts  as  food  for  the 
organisms. 

VI.     Prevention  of  Fog 

1.      The  Precipitation   of  Sodium   Sulphide  from   De- 
velopers. 

(a)      Precipitation  by  Silver  Dissolved  from  Emulsions. 

When  a  developer  is  used  continuously  no  trouble  is 
liable  to  occur  from  sulphide  fog,  because  the  silver  dis- 
solved from  the  emulsion  precipitates  the  sulphide  as  fast 
as  it  is  formed.  This  accounts  for  the  sludge  of  silver 
sulphide  sometimes  found  in  such  a  developer.  How- 
ever, when  sulphide  is  being  formed  continually,  and 
the  developer  is  not  used  for  a  day  or  two,  all  the  silver 
is  precipitated  and  the  excess  sulphide  fogs  the  next  film 
which  is  developed.  This  is  why  the  fogging  tendency 
appears  so  suddenly  in  such  a  developer.  Further,  it 
was  found  that  by  developing  some  film  in  the  fogging 
developer,  the  excess  sulphide  was  removed  and  the  fog- 
ging tendency  disappeared. 

In  this  connection  it  is  of  interest  to  know  the  solvent 
power  of  a  developer  for  the  silver  halides  in  the  emul- 
sions. The  solubility  of  silver  for  the  silver  bromide  in 
solutions  of  sodium  sulphite  was  determined  by  Mees  and 
Piper5,  but  when  a  film  emulsion  is  passed  through  a 
developer  other  factors  are  present.  Also,  the  silver 
halide  first  dissolved  is  reduced  by  the  developing  agent 
to  free  silver,  either  in  a  colloidal  or  a  precipitated  form. 
In  the  colloidal  form  it  is  partly  responsible  for  the 
color  of  used  developer  solutions,  and  as  a  precipitate  it 
forms  a  part  of  the  black  sludge  sometimes  found  in  the 
bottom  of  a  tank  of  old  developer.  For  example,  the 
sludge  which  settled  out  of  a  tank  of  old  No.  16  motion 
picture  positive  developer  was  found  to  contain  13.6% 
silver.  In  order,  therefore,  to  determine  approximately 
the  solvent  power  of  a  developer  for  the  silver  halides 
in  emulsions,  the  following  procedure  was  followed : 

A  solution  was  made  up  containing  sodium  sulphite, 
sodium  carbonate  and  potassium  bromide  in  the  same  con- 
centration as  in  a  developer  but  no  reducing  agent  was 
added.  500cc.  of  the  solution  was  placed  in  a  tray  and 
12  sheets  of  film,  8  inches  by  12  inches,  were  put  through 
the  solution.  Six  sheets  were  developed  at  a  time  shifting 
the  sheets  from  the  bottom  to  the  top  of  the  pile  con- 
stantly for  ten  minutes.  The  solution  was  then  allowed  to 
stand  over  night  so  that  the  turbid  matter  settled  out 
and  the  clear  liquid  Was  pipetted  off  for  analysis. 

In  order  to  determine  the  concentration  of  silver  in 
the  solution,  sodium  sulphide  was  added  and  the  turbidity 
caused  by  the  silver  sulphide  was  compared  in  a  colori- 
meter with  the  turbidity  produced  under  similar  con- 
ditions by  a  solution  of  known  silver  content.  The  solu- 
tion of  known  content  was  prepared  from  the  same 
stock  solution  of  sulphite,  carbonate,  and  bromide  by 
agitating  a  sheet  of  clear  photographic  gelatine  for  ten 
minutes,  and  allowing  that  solution  also  to  settle  over 
night.  This  procedure  was  necessary  in  order  that  the 
gelatine  content  might  be  similar  to  that  of  the  solution 
to  be  tested,  for  the  protective  colloid  effect  of  the  gela- 
tine had  considerable  influence  on  the  state  of  division 
of  the  precipitated  silver  sulphide.     For    the    comparison 


5.     Mees   and  Piper,   Suplhite  Fo£  and  Solubility   of  Silver  Bromide   in   Sulphite 
Solutions,   Phot.   ourn.   36.   221,    (1912). 


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AMERICAN     CINEMATOGRAPHER 


Nineteen 


lOcc.  of  each  solution  was  used.  A  measured  amount 
of  one-hundredth  normal  silver  nitrate  was  added  to 
the  solution  containing  only  gelatine,  and  the  same  amount 
of  water  to  the  solutions  to  be  analyzed.  Ice.  of  1% 
sodium  sulphide  was  added  to  each  and  the  comparison 
made.  By  a  few  trials  the  amount  of  silver  nitrate  re- 
quired to  give  the  same  turbidity  in  each  case  was  found. 
The  results  calculated  in  terms  of  silver  bromide  are 
given  in  Table  I.  These  figures,  while  not  extremely  ac- 
curate, are  sufficient  to  show  that  the  developing  solu- 
tions are  capable  of  dissolving  a  measurable  amount  of 
silver  from  the  emulsions  during  development. 

Table  I. 

Solvent  Power  of  Developing  Solutions  for  Silver  Halides 


Developers  Composition*    oj    Solu- 

Formula  tion  in   grams   per  liter 

NazCOz  NazSOs         KBr 


Emulsion 


Equivalent  oj 

Silver  Bromide 

per  liter 


grams 
MQ   tank        12.5 

MQ  tank        12.5 

MQ  tank        12.5 


MQ  tank 
MQ   25 

MQ   25 

16X 


12.5 
25 


25 
100 


grams 
18.75 

18.75 

18.75 

18.75 

75 

75 
100 


grams 
0.75 


Eastman   Motion   Picture 

Negative   Film   0.17 

0.75        Eastman  Motion  Picture 

Positive    Film    0.19 

0.75        Eastman  Brilliant  Velvet 

Bromide    Paper    0.21 

0.75       Azo  E  No.  I   Developing  Paper  0.60 
1.5        Eastman   Motion   Picture 

Negative   Film   0.15 

1.5        Eastman   Motion   Picture 

Positive   Film    0.15 

3.75        Eastman   Motion   Picture 

Negative    Film    0.56 


♦Reducing   agents   were   omitted    from    the   solutions. 

The  effect  of  soluble  bromide  in  diminishing  the  solu- 
bility of  silver  bromide  is  shown  by  the  smaller  value 
obtained  with  MQ25,  which  contains  much  more  sul- 
phite than  MQ  Tank,  but  more  potassium  bromide. 

(b)      Precipitation  by  Lead  Acetate  or  Silver  Nitrate. 

When  a  small  amount  of  lead  acetate  was  added  to  the 
fogging  developer  containing  sulphide,  it  was  precipitated 
out  so  completely  that  the  developer  again  gave  entirely 
satisfactory  results.  The  precipitated  lead  sulphide  settled 
out  quite  rapidly  but  even  while  in  suspension  it  caused 
no  trouble  in  development.  With  a  developer  which 
contained  0.01%  sodium  sulphide,  it  was  found  that 
when  0.05%  of  lead  acetate  was  added  and  mixed  thor- 
oughly with  the  developer,  all  the  sulphide  was  removed. 
Any  excess  of  lead  salt  forms  a  white  precipitate  which 
is  probably  a  basic  lead  carbonate  with  possibly  some 
sulphate  or  sulphite.  It  can  easily  be  determined  when 
sufficient  lead  salt  has  been  added  by  observing  whether 
further  additions  produce  a  white  precipitate  instead  of 
a  dark  one.  The  solution  must  be  thoroughly  mixed 
and  the  first  dark  precipitate  removed  by  settling  or 
by  filtering  a  small  sample  before  making  this  test.  A 
large  excess  of  lead  salt  is  objectionable  because  it  removes 
from  the  solution  some  of  the  necessary  carbonate  or  sul- 
phite. The  precipitation  takes  place  most  favorably  if  a 
comparatively  dilute  solution  of  the  lead  salt,  for  example, 
about  10%,  is  stirred  in  slowly.  In  most  cases,  not  more 
than  0.5  gram  of  lead  acetate  crystals  per  liter  should 
be  required. 

When  silver  nitrate  was  added  in  order  to  precipitate 
sulphide  from  a  developer,  the  results  were  not  very 
satisfactory.  The  reduction  of  the  silver  interferes  with 
the  rapid  precipitation  of  silver  sulphide,  and  the  precipi- 
tate settles  much  more  slowly  than  that  of  lead  sulphide. 
Moreover,  the  developers  to  which  silver  nitrate  had  been 
added  showed  a  tendency  to  produce  a  spotted  dichroic 
fog  which  looked  as  though  it  had  been  picked  up  from 


6.      I.   I.   Crabtree,   The  Development   of  Motion   Picture   Film   by   the  Reel    and 
Tank  System.     Trans.  Soc.  M.   P.  Eng..  No.    16.    163,    (1923). 


the  surface  of  the  solution.  It  appears,  therefore,  that 
the  most  satisfactory  way  of  removing  sulphide  from  a 
developer  is  to  stir  in  thoroughly  a  small  quantity  of  a 
solution  of  lead  acetate  which  precipitates  lead  sulphide. 

2.     Attempts  to  Prevent  the  Growth  of  Yeast. 

A  series  of  solutions  containing  1%  thiosulphate  and 
yeast  were  tested  with  various  preservatives  to  see  if  the 
growth  could  be  prevented.  The  substances  added  were 
phenol,  0.1%  and  5%;  thymol,  sodium  salicylate,  0.5% 
and  5%  ;  formalin,  0.1%  and  0.5%.  Sulphide  was  formed 
in  all  these  tests  except  with  formalin. 

When  MQ  tank  developer  was  diluted  1  to  3  and 
0.25%  thiosulphate  added  together  with  yeast,  sulphide 
was  always  formed.  With  this  solution  it  was  found 
that  the  addition  of  sodium  salicylate  in  a  concentration 
of  0.1%  and  0.5%  accelerated  the  formation  of  sulphide, 
while  formalin  in  concentrations  of  0.1%  and  0.2% 
only  acted  as  a  retarding  agent.  Probably  the  sulphite 
in  the  developer  combines  with  the  formalin  rendering  it 
ineffective.  In  these  tests,  therefore,  no  substance  was 
found  which  would  prevent  the  growth  of  yeast  in  a 
developer.  If  the  formation  of  sulphide  is  caused  by 
some  other  type  of  organism  perhaps  it  could  be  pre- 
vented more  easily.  At  this  time,  however,  the  authors 
are  unable  to  recommend  any  substance  which  can  be 
added  to  a  developer  to  prevent  such  growth.  In  case  a 
tank  of  developer  becomes  affected,  it  should  be  thoroughly 
cleaned  before  a  new  batch  is  added  in  order  to  prevent 
infection  from  the  tank. 

While  the  difficulties  described  in  this  paper  arose  with 
motion  picture  developers,  these  solutions  are  essentially 
the  same  as  developers  used  in  any  other  branch  of 
photography.  In  motion  picture  work  developers  are 
used  in  large  quantities  and  are  frequently  kept  in  tanks 
for  several  weeks.  Such  conditions  are  especially  favor- 
able to  bacterial  growth.  However,  the  same  phenomena 
may  occur  in  any  case  where  developers  in  either  large  or 
small  quantities  are  kept  after  being  used.  Although 
the  authors  have  not  observed  the  bacterial  formation  of 
sulphide  in  unused  developers,  such  an  occurrence  is 
not  impossible. 

SUMMARY 

1.  Several  samples  of  tank  developer  which  suddenly 
began  to  give  excessive  fog  were  found  to  contain  sodium 
sulphide. 

2.  The  concentration  of  sodium  sulphide  in  two  of 
the  fogging  developers  was  determined  photographically 
and  found  to  be  approximately  0.005%  and  0.02%  re- 
spectively. 

3.  When  free  sulphur  was  added  to  a  developer, 
sodium  thiosulphate  or  other  poly-thio  salts  were  formed 
but  no  sulphide  could  be  detected.  The  formation  of 
sulphide  from  thiosulphate  or  rubber  in  a  developer  is, 
therefore,  improbable. 

4.  Many  different  organisms  are  capable  of  reducing 
hypo,  sodium  sulphite,  and  sodium  sulphate  to  sodium 
sulphide.  Certain  unidentified  fungi  and  several  species 
of  bacteria,  some  of  them  chromogenic,  were  found  living 
in   the   fogging  developer. 

5.  The  formation  of  sulphide  in  developers  was  re- 
produced experimentally  in  the  laboratory  by  adding 
yeast  or  slime.  The  evidence,  therefore,  indicates  that 
the  sulphide  in  the  fogging  developers  investigated  was 
formed  by  reduction  of  the  sulphite  by  living  organisms. 

6.  When   a  developer  is  used   continuously,   the   dis- 

(Continued    on    page    23) 


Twenty 


AMERICAN     CINEMATOGRAPHER 


December,  1924 


FILM  TRUTH  AND  PROSPERITY 

(Continued  from  page  4) 

they  are  most  directly  associated  with  the  public.  But 
there  are  many  others.  One  of  these  is  plagarism  in  the 
use  of  titles. 

The  most  recent  of  this  type,  perhaps,  was  disclosed 
in  September  through  the  investigation  by  the  National 
Vigilance  Committee  of  the  Associated  Advertising  Clubs, 
in  co-operation  with  the  Motion  Picture  Producers  and 
Distributors  of  America,  Inc.,  into  the  efforts  of  a  certain 
company  to  use  "Moses  and  the  Ten  Commandments" 
in  connection  with  the  advertising  of  their  picture,  "Six 
Days."  This,  the  Committee  held,  infringed  upon  the 
title  of  the  Famous  Players-Lasky  production,  "The 
Ten  Commandments."  And  this  opinion  was  sustained 
by  Referee  Robert  L.  Luce  of  the  New  York  Supreme 
Court. 

Similar  frauds  along  this  line  which  have  been  exposed 
by  the  Committee,  were  those  of  the  old  "D'Artagnan" 
film,  the  title  of  which  was  changed  to  "The  Three 
Musketeers"  to  coincide  with  the  Douglas  Fairbanks 
release,  and  of  a  foreign  production  of  the  "Two  Or- 
phans" to  coincide  with  the  advertising  of  the  Griffith 
picture  of  that   name. 

An  old  release  of  "Ten  Nights  in  a  Bar  Room"  was 
used  in  this  manner. 

Questionable  advertisments  for  "partners,"  "extras" 
and  others,  usually  where  the  applicant  must  make  a 
deposit  have  also  been  weeded  out.  One  man  collected 
$40,000   through   help   wanted   advertisements. 

In  Indiana 

One  of  the  most  recent  instances  of  advertising  fraud 
halted  by  the  Vigilance  Committee  was  in  Bicknell, 
Indiana,  in  October,  where  a  certain  promoter  is  said 
to  have  endeavored  to  produce  a  local  picture  to  be 
called  "The  Darling  of  Bicknell,"  without  the  approval 
of  the  Advertising  Committee. 

The  promoter  is  alleged  to  have  ordered  a  double  page 
spread  in  a  daily  paper  and  sold  spaces  in  this  spread  for 
$25  and  $35  which  was  to  include  the  right  of  making 
a  few  feet  of  pictures  of  the  merchant's  store.  Each 
merchant  after  the  showing  of  the  picture  was  to  receive 
that  part  of  the  picture  pertaining  to  his  store.  The 
spread  was  not  printed,  due  to  the  fact  that  the  promoter 
was  asked  to  pay  for  it  in  advance. 

The  promoter  also  secured  applicants  for  the  motion 
picture  cast,  collected  the  money  from  the  subscribing 
merchants  and  before  the  first  rehearsal  was  to  be  held, 
left  town. 

These  are  but  a  few  examples  of  the  kinds  of  frauds 
and  deceptions  with  which  the  National  Vigilance  Com- 
mittee of  the  Associated  Advertising  Clubs  and  forty 
local  Better  Business  Bureaus  have  had  to  deal. 

And  all  such  irregularities  in  the  motion  picture  field 
are  but  a  few  in  contrast  with  the  very  great  amount  of 
honest  transactions. 

The  Vigilance  Committee  has  a  greater  purpose  than 
merely  to  expose  fraud.  It  has  a  greater  purpose  than  to 
secure  the  arrest  of  a  few  short-sighted  individuals.  Its 
purpose  is  to  protect  the  motion  picture  industry  and  its 
$1,500,000,000  investment  from  the  tampering  of  these 
few. 

Its  purpose  is  to  protect  the  public  confidence  in  the 
motion  picture  industry.     A  contrast  of  conditions  to-day 

(Continued    on    page    23) 


SPEED!  SPEED!  SPEED! 

The  Bausch  &  Lomb  Ultra 
Rapid  Anastigmat  is  an 
f\2.7  lens.  This  not  only  is 
its  rated  speed — it  is  the 
speed  at  which  it  actually 
performs. 

Bausch  &  Lomb  Optical  Co. 

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Boston  Rochester,  N.  Y.  London 


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Cinema  Studios  Supply  Corp. 

1438    Beachwood     Drive 

Holly    0819 

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December,  1924 


AMERICAN     CINEMATOGRAPHER 


Tiuenty-one 


MANHATTAN  MUTTERINGS^ 

(Continued  from  page  15) 

Famous  Players  Notes 

Faxon  Dean  has  finished  his  first  east- 
ern production  and  is  starting  a  new  one 
with  Tommy  Meighan.  The  title  will 
be  "Bed  Rock,"  and  the  direction  will  be 
in  the  hands  of  Eddie  Sutherland.  Fax- 
on will  go  to  Alabama  on  this  one  as  a 
great  number  of  scenes  are  laid  in  the 
coal  mining  region  of  Birmingham.  -I 
wonder  if  they  still  have  their  24  votes 

for  Underwood  down  there. 

*  *  * 

Al  Wyckoff  is  still  busily  engaged  on 
"The  Swan,"  under  the  direction  of  Mr. 
Buchowetski.  Al  has  had  any  number 
of  big  sets  in  this  one  and  all  have  been 
well  handled. 

Hal  Rosson  is  between  pictures  at 
present  but  expects  to  start  one  soon  with 

director  Paul  Sloan. 

*  *  * 

Roy  Hunt  is  photographing  "Miss 
Bluebird"  for  Director  Frank  Tuttle. 
The  production  is  well  under  way. 

*  *  * 

Al  Ligouri  is  still  busily  at  it  with 
Director  Sidney  Olcott  on  "Salome  of 
the  Tenements,"  production  about  two- 
thirds   the  way   thrugh. 

All  of  which  goes  to  show  that  things 
photographically  are  more  or  less  hum- 
ming in  "Lil  Old  New  York"  and  as 
far  as  the  writer  is  concerned  he  is  busy 
as . 


WANTED 


Bell   Howell   Camera   complete.      Will 
pay   cash.      Write   Glennon,   A.    S.   C. 


WINF1ELD-KERNER 

STUDIO 

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TITLES 


ART  BACK 
GROUNDS 


FOR  RENT 

Two  Bell  and  Howell  Cameras,  40,  50,  75  mm. 
lenses,  Thalhammer  iris.  Jean  Trebaol,  Jr.,  7042 
itilson  Street,   Palms,   Calif.      Telephone  761-243. 


FOREIGN   AND  AMERICAN 
RESEARCH   PHOTOGRAPHS 


TELEPHONE 
HE  MPSTD  8761 


international'  kinema  research 


LOU    HOWLAND 


Hollywood    Security  Bldg. 


Tiwenty-ticu 


AMERICAN     CINEMATOGRAPHER 


December,  1924 


JACKSON  J.  ROSE  PICTURIZES 
FANTASTIC   INVENTION 

(Continued  from  page  6) 

could  go  without  question  as  an 
acceptable  "fake."  But  the  crea- 
tion of  that  fake  involved  just 
as  perplexing  a  photographic 
problem  as  is  brought  forth  in 
an  attempt  to  work  out  the  act- 
ual invention  itself. 

Benny  Zeidman,  assistant  gen- 
eral manager  at  Universal  City, 
stipulated  that  it  couldn't  be  ex- 
pected that  the  invention  be 
worked  out  so  that  it  would  ap- 
pear as  the  real  thing  on  the 
screen.  Jackson  Rose,  however, 
thought  otherwise.  He  believed 
the  thing  could  be  done  without 
resorting  to  dramatic  suggestion, 
as  in  the  old  days  when  all  that 
the  audience  could  see  of  the 
picture  that  the  artist  was  paint- 
ing was  the  back  of  the  canvas. 

Much  Experiment 

Both  Rose  and  Ted  Sloman, 
who  directed  the  production, 
are  ardent  radio  fans,  and  they 
worked  hard  on  the  idea  before 
they  accomplished  the  design 
decided  upon.  They  realized 
that  the  model  should  look  some- 
thing like  a  radio  and  phone 
cabinet  combined,  and  many 
models  were  constructed  and  dis- 
carded before  the  final  one  was 
adopted. 

Kull  Aids 

All  of  the  experiments  were 

done  at  night,  Rose  having  had 

the     co-operation     of     Edward 

Kull,  A.  S.  C,  who  helped  de- 


sign  a   special   prismatic   filter 
which  was  used  in  the  device. 

Rose  did  not  unfold  his  plans 
until  his  cinematographic  re- 
sults had  an  opportunity  to  talk 
for  themselves  in  the  projection 
room.  Naturally,  Zeidman  was 
surprised.  Rose's  presentation 
of  the  fantastic  invention  could 
not  have  been  more  realistic  if 
an  actual  invention  of  this  sort 
had  been  photographed  in  oper- 
ation. The  story  was  driven 
home  with  a  sincerity  that  could 
hardly  have  been  expected  oth- 
erwise. By  the  thorough  direc- 
tion of  Sloman,  every  time  For- 
rest Stanley,  as  the  hero-invent- 
or, spoke  to  Virginia  Valli,  the 
heroine,  or  other  members  of  the 
cast,  which  included  George 
F  a  w  c  e  1 1 ,  Holmes  Herbert, 
Margaret  Livingston,  and  Wil- 
liam Mong,  the  countenances  of 
the  player  spoken  to  looked  out 
at  the  audience  from  the  abso- 
lute confines  of  the  prismatic 
reflectors  attached  to  the  phone. 
So  perfect  is  the  synchronization 
that  the  image  in  the  prisms  can 
be  switched  as  rapidly  as  an- 
other character  speaks  into  the 
mouthpiece  on  the  sending  end 
of  the  apparatus.  The  accom- 
panying illustrations  which  are 
taken  from  Rose's  negative  show, 
with  allowances  for  the  loss  of 
detail  due  to  the  process  of  re- 
production, the  outcome  of  the 
A.  S.  C.  member's  achievement. 
The  characters  in  the  illustra- 
tion are  Forrest  Stanley  and 
Virginia  Valli. 


PLEASE 

REMEMBER 

that  the  address  of  the 

A.  S.  C. 

and  of  the 

American 

cinematographer 

is  the 

Guaranty  Building 

at  Hollywood  Blvd. 

and  Ivar  Avenue. 


^Communications  di- 
rected to  that  ad- 
dress will  avoid 
serious  delay  that 
has  attended  send- 
ing to  prior  address. 


AMERICAN     CINEMATOGRAPHER, 

Guaranty  Building, 
Hollywood,  Calif. 

Enclosed  find  $ for  one  year's  subscription  to  the  American  Cinemaro- 

grapher,  to  begin  with  issue  of 1925. 

Name - 

Address 


December,  1924 


AMERICAN     CINEMATOGRAPHER 


Tiuenty-three 


Rene  Guissart,  A.S.C. 
on  Big  "Ben  Hur"  Job 


Has  Wide  Experience  in 
European     Cinematography. 
Photographed  "Chu  Chin  Chow." 


Word  has  been  received 
from  Rome  that  Rene  Guis- 
sart, A.  S.  C,  has  been  made 
chief  cinematographer  of  the 
Metro-Goldwyn-Mayer  pro- 
duction, "Ben  Hur,"  which  is 
being  directed  in  Italv  bv 
Fred  Niblo. 

Guissart  left  Los  Angeles 
sometime  ago  for  the  Italian 
capital,  his  assignment  then 
being  chief  cinematographer 
for  Technicolor  on  the  color 
phases  in  the  production. 

European    Experience 

Guissarfs  new  appointment 
makes  him  have  charge  of 
both  color  and  black-and- 
white  photography  on  "Ben 
Hur."  The  A.  S.  C.  member 
has  had  widespread  experi- 
ence in  European  cinemato- 
graphic matters,  having  spent, 
prior  to  1923,  several  years 
in  filming  in  Great  Brittain 
and  on  the  continent,  his  head- 
quarters having  been  in  Lon- 


Rene   Guissart,   A.   S.   C. 


don.  It  was  during  this  per- 
iod that  he  photographed 
"Chu  Chin  Chow"  which,  an- 
nounced as  one  of  the  biggest 


production  ever  made  across 
the  Atlantic,  is  to  be  distribut- 
ed in  this  country  by  Metro- 
Goldwyn. 

Many  Trips 

Subsequent  to  filming  "Chu 
Chin  Chow,"  which  was  made 
in  Berlin,  Guissart  returned  to 
the  United  States.  He  had, 
however,  been  in  Hollywood 
but  a  short  time  when  he  was 
engaged  to  return  to  Europe 
to  shoot  J.  Parker  Read's  pro- 
duction of  Rex  Beach's  "Re- 
coil," directed  by  T.  Hayes 
Hunter  and  featuring  Betty 
Blythe  and  Mahlon  Hamil- 
ton. Guissart  photographed 
this  vehicle  in  France  and  at 
Monte  Carlo. 

He  again  returned  to  Holly- 
wood on  the  completion  of  the 
Read  feature,  but  had  not 
been  there  a  great  while  when 
once  again  he  was  Europe- 
bound,  this  time  for  his  en- 
gagement on  "Ben  Hur." 


THE  STILLS  PROBLEM  SOLVED 

(Continued  from   page  7) 

the  Director  and  quality  on  the  still- 
man. 

All  things  considered  this  article  does  not 
greatly  differ  from  that  in  your  June  issue  of 
the  American  Cinematographer,  but  it  does 
fix  the  responsibility  of  stills;  shows  that  time 
is  not  saved  by  engaging  another  photograph- 
er to  take  stills,  and  I  think  demonstrates  the 
only  ideal  way  for  still  work. 


INVESTIGATIONS   ON    PHOTOGRAPHIC 
DEVELOPERS 

(Continued  from   page   19) 

solved  silver  precipitates  the  sulphide  as  fast  as  it  is 
formed  and  no  fog  is  produced.  In  this  connection, 
the  solvent  power  of  the  developing  solutions  for  the 
silver   halides   in   various  emulsions  was  measured. 

•  7.     A  developer  which  gives  sulphide  fog  can  be  revived 


by  the  addition  of  a  small  quantity  of  lead  acetate  which 
precipitates  the  sulphide  as  lead  sulphide,  or  by  develop- 
ing a  quantity  of  waste  film  therein.  About  0.5  grams 
of  crystallized  lead  acetate  per  liter  of  solution  should 
be  sufficient  in  most  cases. 

8.  No  substance  has  yet  been  found  which  can  be 
recommended  as  a  preservative  against  bacterial  growth 
in  a  developer. 


FILM  TRUTH  AND  PROSPERITY 

(Continued  from   page   20) 

with  those  of  only  a  year  ago  will  show  that  it  is  pro- 
tecting that  confidence.  And  in  this  work  it  has  the  sup- 
port of  all  the  far-sighted  and  honest  men  and  women  in 
the  industry. 

Through  the  efforts  of  all  of  these,  the  time  is  not  far 
off  when  the  motion  picture  industry  will  stand  purged 
of  these  contaminating  few.  It  will  stand  in  all  respects 
worthy  of  the  public  confidence  which  will  be  placed  in  it. 

Box  office  receipts  will  reflect — indeed  they  are  al- 
ready reflecting — that  confidence. 


Twenty-four 


AMERICAN     CINEMATOGRAPHER 


December,  1924 


A.  S.  C.  Acquires  Another 

Office  in  Guaranty  Building 

To  take  care  of  the  future  growth  of  the 
American  Society  of  Cinematographers  and 
of  the  American  Cinematographer,  A.  S.  C. 
members  have  purchased  another  office  ad- 
joining the  new  A.  S.  C.  headquarters  in  the 
new  Guaranty  Building,  Hollywood. 

The  Society  will  immediately  go  into  oc- 
cupancy of  the  new  office  which  will  be  used 
as  the  business  office  of  the  Society  and  of  the 
American  Cinematographer. 

Big  Investment 

This  latest  acquisition  in  what  is  said  to  be 
Los  Angeles'  and  Hollywood's  finest  office 
building,  brings  the  investment  of  the  A.  S.  C. 
members  in  the  structure  in  the  vicinity  of 
$30,000. 

Dominating  Location 

The  location  of  the  A.  S.  C.  headquarters 
is  now  made  more  dominating  than  ever,  lo- 
cated as  they  are  on  the  top  floor  of  the  build- 
ing. The  offices  offer  a  view  stretching  from 
the  mountains  to  the  sea. 

Scott  in   Charge 

Arrangements  for  the  purchase  of  the  new 
office  were  in  the  hands  of  Homer  Scott, 
A.  S.  C,  and  in  those  of  Mr.  Hamilton  for 
the  Guaranty  organization. 


The  Duplex  Co.,  who  have  for  many  years  manufac- 
tured equipment  for  the  production  of  motion  pictures, 
are  extending  their  business  and  have  equipped  a  new 
and  modern  plant  at  Long  Island  City,  it  is  announced. 

Shortly  one  of  the  world's  finest  and  biggest  motion 
picture  laboratory  will  be  installed  here,  and  the  "Pro- 
ject -  A  -  Graph" — a  home,  business  and  educa- 
tional motion  picture  outfit,  will  be  manufactured.  To 
take  care  of  the  many  technical  problems  and  conduct 
research  in  new  developments,  Duplex  have  secured  the 
services  of  Dr.  Alfred  B.  Hitchins,  one  of  the  best  known 
authorities  on  photographic  science.  Dr.  Hitchins  is  a 
Fellow  of  the  Royal  Photographic  Society,  Fellow  of 
the  Chemical  Society,  Fellow  of  the  Royal  Microscopi- 
cal Society — Fellow  of  the  Physical  Society,  London,  a 
member  of  the  Society  of  Motion  Picture  Engineers,  be- 
ing one  of  the  Board  of  Governors,  member  of  the  So- 
ciety of  Francaise  de  Photographie  and  a  medallist  of  the 
society,  a  member  of  the  Camera  Club,  New  York,  the 
Franklin  Institute  and  the  American  Institute  of  Graphic 
Arts.  Dr.  Hitchins  was  for  nine  years  Director  of  Re- 
search with  the  Ansco  Co.  He  has  made  a  life  study 
of  the  chemistry,  physics  and  optics  of  photography  and 
its  applications,  and  has  specialized  in  the  problems  con- 
nected with  the  production  of  motion  pictures,  from  the 
making  of  raw  stock  to  the  picture  on  the  screen. 


FAREWELL 
AND  HELLO! 

Many  years  and  many  calls  firmly 
established  the  former  A.  S.  C. 
telephone  number,  Hollywood  4404. 
But  now  this  number  is  no  more. 
It  has  been  usurped  by — 

GRanite  4274 


The  king  is  dead,  long  live  the  king 
— but  don't  forget  the  new  number. 


Gets  Shots  that  You 
Couldn't  Get  at 
all  Without  it 


m 

^flraJfff    ui 

^^^^       commercial    work    as    I 

find  that   I  can  make  interiors 
with    it    that    would    require    lights    without 
it,    and    get    outdoor    shots    on    bad    days    that    I 
could    not    get    without    it. 

(Signed)        QUINCY    PEACOCK, 

1611    Market    St.,    Jacksonville,    Fla. 

Write    lor    Folder 

Gundlach-Manhattan   Optical   Co. 
900  Clinton  St.  ROCHESTER,  N.  Y. 


December,  1924- 


AMERICAN      C  I  N E M ATOGR A PHER 


T<wenty-five 


With  them  a  Moment  In  Front  of  the  Camera 


Sol  Polito,  A.  S.  C,  who  is  re- 
gistering 100  per  cent  cinemato- 
graphy with  Hunt  Stromberg  pro- 
ductions. Priscilla  Dean  and 
Harry  Carey  are  the  stars  on 
whom  Sol  is  training  his  camera 
these  days. 


H.  Lyman  Broening,  A.  S.  C, 
who  is  photographing  the  latest 
Erb  production  at  F.  B.  O.  studios. 
It  was  Lyman  and  Bob  Kurrle 
who  were  the  cinematographers  of 
that  great  production,  "Abraham 
Lincoln." 


Charles  Rosher,  A.  S.  C,  who 
returned  to  Hollywod  after  a  so- 
journ of  several  months  in  Great 
Britain  and  on  the  continent.  Ro- 
sher studied  cinematographic  con- 
ditions minutely,  especially  in 
Germany. 


Robert  Kurrle,  A.  S.  C,  who  is 
filming  Henry  King's  latest.  Some 
of  the  biggest  current  releases, 
those  made  by  Edwin  Carewe, 
came  into  existence  through  the 
medium  of  Bob's  camera. 


Max  Du  Pont,  A.  S.  C,  who  is 

back  in  the  fold  after  basking  un- 
der Tahiti's  warm  skies  for  half 
a  year.  Max  gathered  unto  him- 
self a  rest  long  needed  and  has  a 
cranking  arm  rarin'  to  go. 


John  M.  Nickolaus,  a  veteran 
friend  of  the  cinematographer, 
who,  with  the  passing  of  the  Stand- 
ard Film  Laboratories,  assumed 
charge  of  the  laboratory  at  Metro- 
Goldwyn-Mayer  studios. 


Tiventy-six 


AMERICAN      CINEMATOGRAPHER 


December,  1924 


Bell  &  Howell  Camera 


An  Instrument  of 
Non  -  Obsolesc  enc  e 


B  &  H  non-obsolescence  means 
that  no  Standard  Bell  &  Howell 
Camera  has  ever  become  obsolete. 

With  interchangeable  detail  parts, 
interchangeable  equipment  and  a  bas- 
ically patented  pilot  register  move- 
ment the  B  &  H  owner  is  assured 
and  prepared  for  any  changes  that 
future  productions  may  demand. 

It  is  the  only  camera  that  has  suc- 
cessfully employed  the  inter-change- 
able Ultra  Speed  Mechanism,  a 
Variable  Speed  Governor  Controlled 
Electric  Cinemeter  for  producing  pic- 
tures, of  Art  quality,  a  direct  aper- 
ture focusing  arrangement  and  many 
other  exclusive  features  predominant 
in  the  construction  of  this  World's 
Standard  Cinematograph  Camera. 

As  evidence  of  superiority  note  the 
first  B  &  H  Cameras  built  17  years 
ago  are  still  in  operation ;  these  same 
veterans  are  readily  brought  up  to 
date  so  as  to  function  with  all  the 
latest  improvements. 

An  investment  in  a  B  &  H  Camera 
is   like   buying   a   Government   Bond. 

Which  do  you  prefer  ; — Scrapping, 
Selling  or  "Trading  In"  at  a  loss — 
or  B  &  H   Non-Obsolescence. 

See  our  latest  model  on  display 
at  Hollywood  Branch. 


Cameras  must  be 
sent  to  our  factory 
to  have  new  fea- 
tures  embodied. 


BRANCHES 
!J^^^£"        NEW  YORK  HOLLYWOOD 

0~B^P  220  W.  42ND  ST.        6924  SANTA  MONICA  BLVD. 


1801  LARCHMONT  AVE. 
CHICAGO. 


Orders  now  being 
accepted  at  branch 
offices  or  direct  at 
Chicago  office. 


Pioneer     and     world's     largest      manufacturers    of    cinematograph     cameras     and     equipment 


HOW  TO  LOCATE  MEMBERS  OF  THE 

American 
Society  of  Cinematographers 

Phone  GRanite  4274 
OFFICERS 

Gaetano  Gaudio    -------------  President 

Gilbert  Warrentox  -         -  -------  I  ice-President 

Karl  Brown  -----  --  --       Vice-President 

Homer  A.  Scott         .'-•-.  -  -  -         -  I' ice-President 

Charles  J.  Van   Enger  -  -         -  -  Treasurer 

Victor  Milner  -  -  -  -     -     Secretary 


Victor  Milner 

Philip  H.  Whitman 
James  C.  Van  Trees 
Frank  B.  Good 
H.  Lyman  Broening 


BOARD  OF  GOVERNORS 

Homer  A.  Scott 
Fred  Jackman 
Charles  J.  Van  Enger 
Gaetano  Gaudio 
Gilbert  Warrenton 


King  D.  Gray 
Reginald  Lvons 
Paul  P.  Perry 
John  F.  Seitz 
Karl   Brown 


Abel,  David — with  Warner  Brothers. 

Arnold,  John — with  Metro-Goldwyn-Mayer  Picture  Corp. 

Barnes,  George  S. — with  Cosmopolitan. 

Beckway,    Wm. — 

Benoit.    Georges — 

Broening,    H.    Lyman — 

Boyle,    John    W.— 

Brodin,  Norbert  F. — Frank  Lloyd  Productions,  First  National.  United 

Studios. 
Brotherton,  Joseph — 

Brown,  Karl — with  James  Cruze,  Famous  Players-Lasky. 
Clark,    Dan — with    Tom    Mix,    Fox    Studio. 
Cowling,    Herford    T. — Travel    Pictures,    Asia. 
Cronjager,  Henry — with  Famous  Players-Lasky,  New  York  City. 
Dean,   Faxon   M. — with   Famous   Players-Lasky,    New    York   City. 
Doran,    Robert    S. — with    Hal    Roach   Studio. 
Dored,  John — Riga,  Latvia. 
Dubray,  Joseph  A. — 
DuPar,    E.    B.— with    \V;.rner    Bros. 
DuPont,    Max    B. — Tahiti. 

Edeson,  Arthur — with  First  National,  United  Studios. 
Evans,    Perry — 
Fildew,  Wm. — 
Fischbeck.     Harry    A. — with     Ritz    Carlton     Picture.-,     starring     Rudolpf 

\  alentino. 
Fisher,   Ross  G. — with   A.   J.   Brown    Productions,    Russell   Studio. 
Gaudio,    Gaetano — with   Norma   Talmadge,    Joseph   Schenck   Productions; 

United    Studios. 
Gilks,  Alfred — with  Famous  Players-Lasky. 
Glennon,  Bert — with   Paul  Bern,  Famous  Players-Lasky. 
Good.    Frank    B. — 
Granville     Fred     L. — directing,       British       International 

London. 
Gray,    King  D. — F.    B.   O.   Studios. 
Griffin,  Walter  L.— 
Guissart,    Rene — 
Haller,  Ernest — Del  Andrews  Prod. 
Heimerl,   Alois   G. — 

Jackman,   Floyd — with    Fred    W.   Jackman    Prods. 
Jackman,     Fred     W.—  directing     Fred     W.    Jackman     Prods 

studios. 
Jennings,    J.    D. — with    First    National,    United    Studios. 
Koenekamp,    Hans    F. — with    Larry   Semon. 
Kull,     Edward — with     Universal. 

Fdison,    Thoma 


Corporation. 


Hal     Roach 


Kurrle,   Robert — with   Henry    King,   United  Studios. 

Landers,    Sam — 

Lockwood,    J.    R. — 

Lundin,    Walter — with   Harold    Lloyd    Productions,    Hollywood    Studios. 

L>  "lis,    Reginald — with    Fox. 

MacLean,  Kenneth  G. — with  "Ben-Hur,"  Rome,  Italy. 

Marshall,  Wm. — with  Carlos  Prods. 

Meehan,    George — with    Henry    Lehrman,    Fox. 

Milner,     Victor — with     Famous    Players-La  iky. 

Morgan,    Ira    H. — with    Cosmopolitan. 

Norton,  Stephen  S. — with  Universal  Pictures  Corp. 

Overbaugh,    Roy   F. — New    York   City. 

Palmer,    Ernest    S. — 

Perry,    Harry — 

Perry,    Paul   P.— with    Douglas   MacLean,    F.    B.   O.    Studios. 

Polito,  Sol — with  Hunt  Stromberg  Productions, 

Ries,    Park    J.— 

Rizard.  George — New  York  City. 

Roos,   Len   H. — with  Fox   Educational   Film   Corp. 

Rose,    Jackson   J. 

Rosher,    Charles — with    Mary    Pickford,    Pickford  Fairbanks    Studio. 

Schneiderman,    George — with    Fox. 


-First  National,  United  Studios, 
-with    Rex    I  ngram,    Europe. 
vith    Thomas    H.    I  nee. 


Webb,    Arthur    C. — Attorney. 


Scott,  Homer  A.- 
Seitz,  John  F.- 
Sharp, Henry — 
Short,    Don — 

Smith,    Steve,    Jr. — with    Vitagraph    Studio. 
Steene,   E.   Burton — New    York   City. 
St  u  mar,    Charles — with    L*  ni  versa  1. 
Stumar,  John — with    L  niversal. 

Tolhurst,    Louis    H. — "Secrets    of    Life,"    Microscopic    Pictures,    Princi- 
pal   Pictures    Corporation. 
Totheroh,    Rollie   H. — with  Charlie  Chaplin,   Chaplin   Studio. 
Turner,  J.  Robert — with  Fox. 
Van    Buren,    Ned — 
Van    Enger,   Charles — with    Universal. 

Van   Trees,    James   C. — with   First    National,    New    York    City. 
Warrenton,     Gilbert — 

Whitman,  Philip  H. — with  Famous  Players-Lasky,  New  York  City. 
Wilky,  L.  Guy — with  William  de  Mille,  Famous  Players-Lasky. 
A. — Honorary    Member. 


Meetings    of    the    American    Society    of    Cinematographers    are    held    every  Monday   evening.    On    the   first    and    the    third    Monday   of   each    montn 
the    open    meeting    is    held ;    and    on    the   second    and    the    fourth,  the    meeting    of    the    Board    of    Governors. 

1219-20-21-22  GUARANTY   BUILDING 

Hollywood    Boulevard   and    Ivar    Avenue 

Hollywood.  California 


LOYALTY 


PROGRESS 


ART 


The  Museum  of  Modern  Art